Cinerama

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Cinerama is the trademarked name for a widescreen process which works by simultaneously projecting images from three synchronized 35 mm projectors onto a huge, deeply-curved screen, subtending 146° of arc, and for the corporation which was formed to market it. It was the first of a number of such processes introduced during the 1950s, when the movie industry was reacting to competition from television, and it had a great impact on the motion-picture industry.

The center section (approximately one-third) of the Cinerama projection screen is a continuous surface, but the left-most and right-most thirds are made of adjacent vertical strips, each strip facing the audience, to prevent light scattered from one side of the deeply-curve screen from impinging on the other side. The spectacular display is accompanied by a high-quality, six-track (later seven-track) stereophonic sound system.

The original system involved shooting with three synchronized cameras sharing a single shutter, but this was later abandoned in favour of a 65 mm system, shot with a single camera. (Aficionados, however, insist that the later processes were inferior.) Although one of Cinerama's single-film descendants, Ultra Panavision 70, used an anamorphic adaptor, neither three strip Cinerama or its other 65 mm descendant, Super Panavision 70, used anamorphic lenses, although 35 mm anamorphic reduction prints were produced for exhibition in theatres with anamorphic Cinemascope-compatible projection lenses.

Contents 1 History 2 Single-Film "Cinerama:" Ultra Panavision 70 and Super Panavision 70 3 Cinerama's premiere 4 Cinerama today 5 List of Cinerama features 6 "Cinerama" video stretching mode 7 References 8 See also 9 External links

History

Cinerama was invented by Fred Waller and commercially developed by Waller and Merian C. Cooper. It was the outgrowth of many years of development. A forerunner was the triple-screen final sequence in the silent Napoléon made in 1927 by Abel Gance; Gance's classic was considered lost in the 1950s, however; it existed only by hearsay, and Waller could not have actually seen it. Waller had earlier developed an 11-projector system called "Vitarama" at the Petroleum Industry exhibit in the 1939 New York World's Fair. A five-camera version, the Waller Gunnery Trainer, was used during the Second World War.

The word "Cinerama" combines cinema with panorama, the origin of all the "-orama" neologisms. ("Cinerama" is also an anagram of "American.")

The first Cinerama film, This is Cinerama, premiered on 30 September, 1952, at the Broadway Theatre in New York.

The photographic system involved three interlocked 35 mm cameras equipped with 27 mm lenses, approximately the focal length of the human eye. Each camera photographed one third of the picture shooting in a criss-cross pattern, the right camera shooting the left part of the image, the left camera shooting the right part of the image and the center camera shooting straight ahead. The three cameras were mounted as one unit, set at 48 degrees to each other. A single rotating shutter in front of the three lenses assured simultaneous exposure on each of the films. The three angled cameras photographed an image that was not only three times as wide as a standard film but covered 146 degrees of arc, close to the human field of vision, including peripheral vision. The image was photographed six sprocket holes high, rather than the usual four used in other 35 mm processes. And the picture was photographed and projected at 26 frames per second rather than the usual 24.

According to Martin Hart[1], in the original system "the camera aspect ratio [was] 2.59:1. The optimum screen image, with no architectural constraints, was about 2.65:1." (He comments on the unreliability of "numerous websites and other resources that will tell you that Cinerama had an aspect ratio of up to 3:1.")

In the theater, Cinerama projected from three projection booths shooting back in the same criss-cross pattern as the cameras. They projected onto a deeply curved screen made of over 1100 strips of material mounted on "louvers" like a vertical venetian blind. This was a big-ticket, reserved-seats spectacle, and the Cinerama projectors were usually adjusted carefully and operated skillfully. Vibrating combs called "gigolos" were used to provide a linearly-ramped shading at the edge of each frame, so that they joined without a grossly obvious line or seam. Great care was taken to match color and brightness when producing the prints. Nevertheless, the joins between the three panels were usually noticeable. Optical limitations with the design of the camera itself meant that if distant scenes joined perfectly, closer objects did not. A nearby object might split into two as it crossed the seams. To avoid calling attention to the seams, scenes were often composed with unimportant objects such as trees or posts at the seams, and action was blocked so as to center actors within panels. This gave a distinctly "triptych-like" appearance to the composition even when the seams themselves were not obvious. It was often necessary to have actors in different sections "cheat" where they looked in order that they would seem to be looking at each other in the final projected picture. Enthusiasts say the seams were not obtrusive; detractors differ. Lowell Thomas, an investor in the company with Mike Todd, was still raving about the process in his memoirs thirty years later.

In addition to the visual impact of the image, Cinerama was one of the first processes to use multitrack magnetic sound. The system, developed by Hazard Reeves, one of the Cinerama investors, played back from a 35 mm, 6-track (and later 7-track) sound film, through five speakers behind the screen for truly directional sound. A surround track (later two) played back through speakers in the auditorium with a sound engineer directing the sound between the surround speakers according to a script. The projectors and sound system were synchronized by a system using selsyn motors.

The system had some obvious drawbacks. If one of the films should break and be repaired with the damaged frames cut out, the corresponding frames would have to be cut from the other three films (the other two picture films plus the soundtrack film) in order to preserve synchronization. The use of zoom lenses was impossible since the three images would no longer match. Perhaps the biggest limitation of the process is that the picture looks natural only from within a rather limited "sweet spot." Viewed from outside the sweet spot, the picture is annoyingly distorted. But these problems certainly did not stop moviegoers from appreciating this innovative wide-screen process.

Worthy of note is the special Cinerama screen, which consisted of hundreds of separate vertical strips. This design eliminated cross-reflections on the deeply curved screen. Some people believe that IMAX Dome, sometimes called OMNIMAX, is inferior in this regard. They believe that it has a washed-out picture.

The impact these films had on the big screen cannot be assessed from television or video, or even from 'scope prints, which marry the three images together with the joins clearly visible. Because they were designed to be seen on a curved screen, the geometry looks distorted on television; somebody walking from left to right would appear to approach the camera at an angle, move away at an angle, and then repeat the process on the other side of the screen.

During the fifties, Cinerama was presented as a theatrical event, with reserved seating and printed programs. Patrons would dress up to attend.

Although most of the films produced using the original three-strip Cinerama process were full feature length or longer, there were travelogues or collections of short subjects such as This Is Cinerama (1952), the first film shot in Cinerama. Other travelogues presented in Cinerama were Cinerama Holiday (1955), Seven Wonders of the World (1955), Search for Paradise (1957) and South Seas Adventure (1958). There was also one commercial short, Renault Dauphin (1960).

Even as the Cinerama travelogues were beginning to lose audiences in the late 50s, the spectacular travelogue Windjammer (1958) was released in a competing process called Cinemiracle which claimed to have less noticeable dividing lines on the screen thanks to the reflection of the side images off of mirrors (this also allowed all three projectors to be in the same booth). Due to the small number of Cinemiracle theatres, specially converted prints of Windjammer were shown in Cinerama theatres in cities which did not have Cinemiracle theaters, and ultimately Cinerama bought up the process.

Only two films with traditional story lines were made, The Wonderful World of the Brothers Grimm and How the West Was Won. In order to make these films compatible with single film systems for later standard releases, they were shot at 24 frame/s, not the 26 frame/s of traditional Cinerama.

In 1961 and 1962 the Cooper Foundation of Lincoln, Nebraska, built three near-identical circular "super-Cinerama" theaters which were considered the finest venue to view a Cinerama film. The first such theaters, the Cooper Theater, was built in Denver, Colorado and was demolished in the 1990s to make way for a Barnes and Noble Bookstore. The second, the Cooper Theater, was built in St. Louis Park, Minnesota and was demolished and replaced with a strip mall. The third super-Cinerama, the Indian Hills Theater, was built in Omaha, Nebraska. The Indian Hills closed in 2000 and, in the face of local and national protests, was demolished by Nebraska Methodist Health Systems, Inc., to make way for a parking lot.

Single-Film "Cinerama:" Ultra Panavision 70 and Super Panavision 70

Rising costs in making three-camera wide-screen films caused Cinerama to stop making such films in their original form shortly after the first release of How the West Was Won. The use of Ultra Panavision 70 for certain scenes (such as the river raft sequence) later printed onto the three Cinerama panels, proved that a more or less satisfactory wide screen image could be photographed without the three cameras. Consequently, Cinerama discontinued the three film process, with the exception of a single theater (McVickers' Cinerama Theatre in Chicago) showing Cinerama's Russian Adventure, an American-Soviet co-production culled from footage of several Soviet films shot in the rival Soviet three-film format known as Kinopanorama in 1966.

Cinerama continued through the rest of the 1960s as a brand-name used initially with the Ultra Panavision 70 widescreen process (which yielded a similar aspect ratio as the original Cinerama, although it did not simulate the 146 degree field of view.) Optically "rectified" prints and special lenses were used to project the 70 mm prints onto the curved screen. The films shot in Ultra Panavision for single lens Cinerama presentation were It's a Mad, Mad, Mad, Mad World (1963), Battle of the Bulge (1965), The Greatest Story Ever Told (1965), The Hallelujah Trail (1965) and Khartoum (1966).

Following the use of Ultra Panavision 70, the less wide but still spectacular Super Panavision 70 was used to film the Cinerama presentations Grand Prix (1966), 2001: A Space Odyssey (1968) and Ice Station Zebra (1968). The similar Todd-AO process was used for Krakatoa, East of Java (1969).

Two films were shot in the somewhat lower resolution Super Technirama 70 process for Cinerama release, these were Circus World (1964) and Custer of the West (1967). By now what was advertised as "Cinerama" was a pale reflection of the original three film process.

In the late 1960s and early 1970s, the Cinerama name was used as a film distribution company, ironically re-issuing single strip 70 mm and 35 mm Cinemascope reduction prints of This Is Cinerama (1972).

Cinerama's premiere

Cinerama premiered on September 30, 1952. The New York Times judged it to be front-page news. Notables attending included: New York Governor Thomas E. Dewey; violinist Fritz Kreisler; James A. Farley; Metropolitan Opera manager Rudolph Bing; NBC chairman David Sarnoff; CBS chairman William S. Paley; Broadway composer Richard Rodgers; and Hollywood mogul Louis B. Mayer.

Writing in the New York Times a few days after the system premiered, film critic Bosley Crowther wrote:

Somewhat the same sensations that the audience in Koster and Bial's Music Hall must have felt on that night, years ago, when motion pictures were first publicly flashed on a large screen were probably felt by the people who witnessed the first public showing of Cinerama the other night... the shrill screams of the ladies and the pop-eyed amazement of the men when the huge screen was opened to its full size and a thrillingly realistic ride on a roller-coaster was pictured upon it, attested to the shock of the surprise. People sat back in spellbound wonder as the scenic program flowed across the screen. It was really as though most of them were seeing motion pictures for the first time.... the effect of Cinerama in this its initial display is frankly and exclusively "sensational," in the literal sense of that word.

While observing that the system "may be hailed as providing a new and valid entertainment thrill," Crowther expressed some skeptical reserve, saying "the very size and sweep of the Cinerama screen would seem to render it impractical for the story-telling techniques now employed in film.... It is hard to see how Cinerama can be employed for intimacy. But artists found ways to use the movie. They may well give us something brand-new here."

A technical review by Waldemar Kaempffert published in the Times the same day hailed the system. He praised the stereophonic sound system and noted that "the fidelity of the sounds was irreproachable. Applause in La Scala sounded like the clapping of hands and not like pieces of wood slapped together." He noted, however that "There is nothing new about these stereophonic sound effects. The Bell Telephone Laboratories and Prof. Harold Burris-Meyer of Stevens Institute of Technology demonstrated the underlying principles years ago."

It is unlikely that Cinerama was ever presented better than at its premiere. Nevertheless, Kaempfert noted:

There is no question that Waller has made a notable advance in cinematography. But it must be said that at the sides of his gigantic screen there is some distortion more noticeable in some parts of the house than in others. The three projections were admirably blended, yet there were visible bands of demarcation on the screen.

Cinerama today

The Cinerama company exists today as an entity of the Pacific Theatres chain. In recent years hard work by dedicated enthusiasts has made possible showings of surviving and new Cinerama prints, notably at:

• the Pictureville Cinema at the National Media Museum in Bradford, England beginning in June 1993
• the New Neon Cinema in Dayton, Ohio from 1996 to 1999
• the refurbished Seattle Cinerama in Seattle beginning in 1999
• Pacific Theatres’ Cinerama Dome in Hollywood beginning in 2002.

In 1998, Microsoft co-founder Paul Allen purchased Seattle's Martin Cinerama, which then underwent a major restoration/upgrade. In 1999 it reopened with a special multi-day program featuring screenings of most of the major Cinerama classics, which drew patrons from around the world.

As of 2004, the Pictureville Cinema, Martin Cinerama and Cinerama Dome continue to hold periodic screenings of three-projector Cinerama movies.

It is worth noting that the Cinerama Dome was designed for the three-projector system but never actually had it installed until recent years as it opened with the first of the single film 70 mm ersatz Cinerama films, It's a Mad, Mad, Mad, Mad World.

A 2003 documentary, Cinerama Adventure, took a look back at the history of the Cinerama process, as well as digitally recreating the Cinerama experience via clips of true Cinerama films (using transfers from original Cinerama prints). And Turner Entertainment (via Warner Bros.) has struck new Cinerama prints of How the West Was Won for exhibition in true Cinerama theatres around the world.

Cinerama is widely considered the most impressive wide-screen process ever to have achieved commercial success, and a process ahead of its time. Every other system--Todd-AO, Cinemascope, even IMAX, can be fairly described as attempts, with varying degrees of success, to approximate Cinerama at lower cost.

List of Cinerama features

The following feature films have been advertised as being presented "in Cinerama".

• This is Cinerama (1952) - 3-Strip Cinerama; re-released in 1972 in 70 mm Cinerama
• Cinerama Holiday (1955) - 3-Strip Cinerama
• Seven Wonders of the World (1956) - 3-Strip Cinerama
• Search for Paradise (1957) - 3-Strip Cinerama
• South Seas Adventure (1958) - 3-Strip Cinerama
• Windjammer (1958) - originally filmed in 3-strip Cinemiracle; later exhibited as Cinerama
• The Wonderful World of the Brothers Grimm (1962) - 3-Strip Cinerama
• Holiday in Spain (1962) - aka Scent of Mystery; originally filmed in Todd-70; converted to 3-strip Cinerama
• How The West Was Won (1962) - 3-strip Cinerama, although some sequences were filmed in Ultra Panavision 70
• The Best of Cinerama (1963) - 3-Strip Cinerama
• It's a Mad, Mad, Mad, Mad World (1963) - filmed in Ultra Panavision 70, presented in 70 mm Cinerama
• Circus World (1964) - filmed in Super Technirama 70, presented in 70 mm Cinerama
• Mediterranean Holiday (1964) - filmed in MCS-70; presented in 70 mm Cinerama
• To Be Alive! (1964) - 3-strip Cinerama; later converted to Ultra Panavision 70 for awards consideration
• The Golden Head (1965) - filmed in Super Technirama 70; presented in 70 mm Cinerama in Europe only
• La Fayette (1965) - filmed in Super Technirama 70; presented in 70 mm Cinerama in Europe only
• The Story of the Flaming Years (1965) - filmed in Sovscope 70; presented in 70 mm Cinerama in Europe only
• The Black Tulip (1965) - filmed in MCS-70; presented in 70 mm Cinerama in Europe only
• The Greatest Story Ever Told (1965) - filmed in Ultra Panavision 70; presented in 70 mm Cinerama
• The Hallelujah Trail (1965) - filmed in Ultra Panavision 70; presented in 70 mm Cinerama
• Battle of the Bulge (1965) - filmed in Ultra Panavision 70; presented in 70 mm Cinerama
• Cinerama's Russian Adventure (1966) - filmed in Kinopanorama, presented in both 3-strip and 70 mm Cinerama
• Khartoum (1966) - filmed in Ultra Panavision 70; presented in 70 mm Cinerama
• Grand Prix (1966) - filmed in Super Panavision 70; presented in 70 mm Cinerama
• Custer of the West (1967) - filmed in Super Technirama 70; presented in 70 mm Cinerama
• 2001: A Space Odyssey (1968) - filmed in Super Panavision 70; presented in 70 mm Cinerama
• Ice Station Zebra (1968) - filmed in Super Panavision 70; presented in 70 mm Cinerama
• Krakatoa, East of Java (1969) - filmed in Todd-AO; presented in 70 mm Cinerama
• Song of Norway (1970) - filmed in Super Panavision 70; presented in 70 mm Cinerama in Europe only
• The Great Waltz (1972) - filmed in 35 mm Panavision, presented in 70 mm Cinerama in Europe only

"Cinerama" video stretching mode

RCA uses the word "Cinerama" to refer to a display mode which fills a 16:9 video screen with 4:3 video with, in the words of the manufacturer, "little distortion." Manuals for products offering this mode give no detailed explanation. One online posting says it consists of "a slight cropping at the top & bottom combined with a slight stretch at only the sides," and praises it. The posting suggests that other vendors provide a similar function under different names. Mitsubishi calls it "stretch" mode. The RCA Scenium TV also has a "stretch mode" as well it is a 4:3 picture stretched straight across.

There is no obvious connection between this video mode and any of the Cinerama motion picture processes. It is not clear why the name is used, unless the nonlinear stretch is vaguely evocative of a curved screen. (Ironically, some widescreen cinema processes—not Cinerama—displayed a fault known as "anamorphic mumps," which consisted of a lateral stretch of objects closer to the camera).

In the U.S., RCA does not appear to have registered the word "Cinerama" as a trademark; conversely, a number of trademarks on "Cinerama," e.g. SN 74270575, are still "live" and held by Cinerama, Inc.

References

• The Waller Flexible Gunnery Trainer. By Fred Waller. In: Journal of the SMPTE, Vol. 47, July, 1946. Pages 73 through 87

• New Movie Projection System Shown Here; Giant Wide Angle Screen Utilized. Bosley Crowther, The New York Times, October 1, 1952, p. 1

• Apparently Solid Motion Pictures Produced by Curved Screen and Peripheral Vision. Waldemar Kaempffert, The New York Times, October 5, 1952 p. E9

• Looking at Cinerama: An Awed and Quizzical Inspection of a New Film Projection System. Bosley Crowther, The New York Times, October 5, 1952 p. X1

• Robert E. Carr and R. M. Hayes: Wide Screen Movies. A History and Filmography of Wide Gauge Filmmaking, MC Farland & Company, Inc., 1988. ISBN 0-89950-242-3 Chapter II. "The Multiple-Film and Deep Curved Screen Processes" pp. 11-54

• Thomas, Lowell: So long until tomorrow : from Quaker Hill to Kathmandu, G. K. Hall 1977, ISBN 0-8161-6553-X Chapter ""The Wonderful Life and Premature Death of Cinerama"

• "Scenium" HD50LPW165 RCA receiver; full description of Cinerama mode in the instruction book says "The image of a 4:3 video signal is centered, expanding in the horizontal direction to fill the display with little distortion" whereas in "Stretch" mode "The image of a 4:3 video signal is stretched horizontally by approximately 33% while the vertical size stays the same."

See also

• List of 70 mm films
• List of film formats
• Super Panavision 70
• Super Technirama 70
• Todd-AO
• Ultra Panavision 70
• Kinopanorama
• Cinerama Dome
• Seattle Cinerama
• IMAX

Wikipedia information about Cinerama This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Cinerama". It may not have been reviewed by professional editors (see full disclaimer). Help contribute to Americola and edit this article.