Are There Cameras In The Movie Theatre

Widescreen, curved screen projection process

Scene from This is Cinerama

A Cinerama screen in the Bellevue, Amsterdam

John Harvey and Willem Bouwmeester did the installation of Cinerama equipment and screen at Pictureville in Bradford, England, in 1993.

Cinerama is a widescreen process that originally projected images simultaneously from 3 synchronized 35mm projectors onto a huge, deeply curved screen, subtending 146° of arc.^{[ clarification needed ]} The trademarked process was marketed by the Cinerama corporation. It was the first of a number of novel processes introduced during the 1950s, when the movie industry was reacting to competition from television. Cinerama was presented to the public as a theatrical consequence, with reserved seating and printed programs, and audience members often dressed in their best attire for the evening.

The Cinerama projection screen, rather than existence a continuous surface like nearly screens, is made of hundreds of individual vertical strips of standard perforated screen textile, each about 7⁄8  inch (~22 mm) wide, with each strip angled to face the audience, then equally to prevent light scattered from one end of the deeply curved screen from reflecting across the screen and washing out the prototype on the opposite stop.^[1] The brandish is accompanied by a high-quality, seven-track discrete, directional, surround-sound system.

The original organisation involved shooting with three synchronized cameras sharing a unmarried shutter. This process was later abandoned in favor of a organization using a single photographic camera and 70mm prints. The latter system lost the 146° field of view of the original three-strip system, and its resolution was markedly lower. Three-strip Cinerama did not apply anamorphic lenses, although two of the systems used to produce the 70mm prints (Ultra Panavision 70 and Super Technirama 70) did apply anamorphics. Later, 35mm anamorphic reduction prints were produced for exhibition in theatres with anamorphic CinemaScope-uniform project lenses.

History [edit]

Process and production [edit]

Cinerama was invented by Fred Waller (1886–1954) and languished in the laboratory for several years earlier Waller, joined past Run a risk "Buzz" Reeves, brought information technology to the attention of Lowell Thomas who, showtime with Mike Todd and later with Merian C. Cooper, produced a commercially feasible sit-in of Cinerama that opened on Broadway on September 30, 1952. The film, titled This is Cinerama, was received with enthusiasm.^{[2] [3]} It was the outgrowth of many years of development. A precursor was the triple-screen terminal sequence in the silent Napoléon (1927) directed past Abel Gance; Gance's classic was considered lost in the 1950s, however, known of simply by hearsay, and Waller could not take actually viewed information technology. Waller had earlier developed an eleven-projector system called "Vitarama" at the Petroleum Industry exhibit in the 1939 New York World's Fair. A 5-camera version, the Waller Gunnery Trainer, was used during the 2d World War.

The word "Cinerama" combines cinema with panorama, the origin of all the "-orama" neologisms (the discussion "panorama" comes from the Greek words "pan", meaning all, and "orama", which translates into that which is seen, a sight, or a spectacle). It has been suggested^[4] that Cinerama could take been an intentional anagram of the word American; but an online posting past Dick Babish, describing the meeting at which it was named, says that this is "purely adventitious, nevertheless delightful."^[v]

How Cinerama is projected using three projectors

The photographic system used three interlocked 35 mm cameras equipped with 27 mm lenses, approximately the focal length of the human eye. Each photographic camera photographed 1 third of the pic shooting in a crisscross pattern, the correct camera shooting the left part of the image, the left photographic camera shooting the right office of the prototype and the center camera shooting straight ahead. The three cameras were mounted every bit one unit, set at 48 degrees to each other. A unmarried rotating shutter in front end of the three lenses assured simultaneous exposure on each of the films. The three angled cameras photographed an image that was not merely 3 times every bit broad as a standard film merely 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 conventional 35 mm processes. The motion picture was photographed and projected at 26 frames per second rather than the usual 24.^{[2] [3]}

Co-ordinate to film historian Martin Hart, in the original Cinerama system "the camera aspect ratio [was] ii.59:1" with an "optimum screen epitome, with no architectural constraints, [of] about ii.65:one, with the extreme summit and bottom cropped slightly to hide anomalies". He further comments on the unreliability of "numerous websites and other resources that volition tell you that Cinerama had an aspect ratio of up to iii:1."^[6]

In theaters, Cinerama film was projected from iii project booths bundled in the aforementioned crisscross blueprint as the cameras. They projected onto a deeply curved screen, the outer thirds of which were made of over ane,100 strips of fabric mounted on "louvers" like a vertical venetian blind, to prevent calorie-free projected to each end of the screen from reflecting to the opposite cease and washing out the image. This was a big-ticket, reserved-seats spectacle, and the Cinerama projectors were adjusted carefully and operated skillfully. To prevent next images from creating an overilluminated vertical ring where they overlapped on the screen, vibrating combs in the projectors, called "jiggolos," alternately blocked the epitome from one projector and then the other; the overlapping area thus received no more total illumination than the residue of the screen, and the rapidly alternating images within the overlap smoothed out the visual transition between next image "panels." Great care was taken to match color and brightness when producing the prints. Nevertheless, the seams between panels were usually noticeable. Optical limitations with the pattern of the camera itself meant that if afar scenes joined perfectly, closer objects did not (parallax error). A nearby object might split into two every bit information technology crossed the seams. To avoid calling attention to the seams, scenes were often equanimous with unimportant objects such as trees or posts at the seams, and activity was blocked then as to center actors within panels. This gave a distinctly "triptych-similar" appearance to the composition even when the seams themselves were not obvious. It was frequently necessary to have actors in dissimilar sections "cheat" where they looked in order to announced to be looking at each other in the final projected picture. Enthusiasts say the seams were not obtrusive; detractors disagree. Lowell Thomas, an investor in the visitor with Mike Todd, was still raving nearly the procedure in his memoirs thirty years later.^{[ citation needed ]}

Sound system [edit]

In addition to the visual touch on of the image, Cinerama was one of the first processes to use multitrack magnetic audio. The arrangement, developed by Hazard E. Reeves, one of the Cinerama investors, played dorsum from a full coated 35 mm magnetic film with seven tracks of sound targeting a speaker layout similar to the more modern SDDS. There were v speakers behind the screen, two on the side and back of the auditorium with a audio engineer directing the sound betwixt the environment speakers according to a script. The projectors and audio system were synchronized by a organization using selsyn motors.^{[ commendation needed ]}

Drawbacks [edit]

The Cinerama system had some obvious drawbacks. If one of the films should break, it had to exist repaired with a blackness slug exactly equal to the missing footage. Otherwise, the respective frames would have had to be cut from the other 3 films (the other two picture films plus the soundtrack motion-picture show) in society to preserve synchronization. The employ of zoom lenses was impossible since the three images would no longer friction match. Perhaps the greatest limitation of the process is that the picture looks natural merely from within a rather express "sweet spot." Viewed from outside the sweet spot, the picture tin expect distorted.

The organisation also required a scrap of improvisation on the part of the film producers. It was non possible to moving picture any scene where whatsoever part of the scene was close to the photographic camera, as the fields of view no longer met exactly. Further, any shut-upward fabric had a noticeable curve in information technology at the joins. It was likewise difficult to pic actors talking to each other where both were in shot, because when they looked at each other when filmed, the resultant image showed the actors appearing to look by each other, particularly if they appeared on unlike films. Early on directors sidestepped this latter trouble past merely shooting one actor at a time and cutting between them. Later directors worked out where to have the actors looking to create a natural shot. Each actor was required not to look at their beau actor, but at a predetermined cue place instead.

Finally, the three individual films would jitter and weave slightly as the films moved through the projectors.^[7] This normal frame-to-frame motion is typically imperceptible to cinema audiences where only a single projector is in utilize. However, in Cinerama, this resulted in the eye pic constantly moving slightly relative to each of the side pictures. The shifting displacements were perceivable at the two points where the center picture met the side pictures, resulting in what appeared to many viewers to be jittering vertical lines at one-third and two-thirds of the manner across the screen every bit the two touching images constantly moved around relative to each other. Cinerama projectors used a device to slightly blur the join lines to make the jitter less noticeable. Future systems such every bit Circle-Vision 360° would correct for this by having masked areas between the screens. The jitters continued, just viewers were less aware of them with the adjoining pictures no longer and then shut together.

The impact these films had on the big screen cannot be assessed from television or video, or even from 'scope prints, which ally the 3 images together with the seams clearly visible. Because they were designed to be seen on a curved screen, the geometry looks distorted on television set; someone walking from left to correct appears to approach the camera at an angle, motility away at an angle, and and then echo the process on the other side of the screen.

Premiere [edit]

The kickoff Cinerama pic, This Is Cinerama, premiered on September thirty, 1952, at the Broadway Theatre in New York. The New York Times judged it to exist front-page news. Notables attending included: New York Governor Thomas E. Dewey; violinist Fritz Kreisler; James A. Farley; Metropolitan Opera manager Rudolf Bing; NBC chairman David Sarnoff; CBS chairman William Southward. Paley; Broadway composer Richard Rodgers; and Hollywood mogul Louis B. Mayer.

Writing in The New York Times a few days after the organisation premiered, motion picture critic Bosley Crowther wrote:^[8]

Somewhat the same sensations that the audience in Koster and Bial's Music Hall must have felt on that dark, 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 nighttime... the shrill screams of the ladies and the pop-eyed anaesthesia of the men when the huge screen was opened to its total size and a thrillingly realistic ride on a roller-coaster was pictured upon it, attested to the shock of the surprise. People sat dorsum in spellbound wonder equally the scenic plan flowed across the screen. Information technology was really as though about of them were seeing motility pictures for the first time.... the effect of Cinerama in this its initial brandish is frankly and exclusively "sensational," in the literal sense of that word.

While observing that the system "may exist hailed as providing a new and valid entertainment thrill," Crowther expressed some skeptical reserve, maxim "the very size and sweep of the Cinerama screen would seem to render information technology impractical for the story-telling techniques now employed in pic.... It is difficult to see how Cinerama tin can be employed for intimacy. But artists found ways to employ the picture. They may well requite us something brand-new hither."

A technical review by Waldemar Kaempffert published in The New York Times on the same day hailed the system. He praised the stereophonic audio system and noted that "the fidelity of the sounds was irreproachable. Applause in La Scala sounded like the clapping of easily and non like pieces of wood slapped together". He noted, nevertheless that "There is nothing new almost these stereophonic sound effects. The Bell Telephone Laboratories and Prof. Harold Burris-Meyer of Stevens Institute of Applied science demonstrated the underlying principles years ago." Kaempffert as well noted:

There is no question that Waller has made a notable accelerate in cinematography. Simply it must exist said that at the sides of his gigantic screen there is some distortion more than noticeable in some parts of the house than in others. The 3 projections were admirably blended, still there were visible bands of demarcation on the screen.

Venues [edit]

Although existing theatres were adapted to show Cinerama films, in 1961 and 1962 the non-profit Cooper Foundation of Lincoln, Nebraska, designed and built three well-nigh-identical circular "super-Cinerama" theaters in Denver, Colorado; St. Louis Park, Minnesota (a Minneapolis suburb); and Omaha, Nebraska. They were considered the finest venues in which to view Cinerama films. The theaters were designed by architect Richard L. Crowther of Denver, a Swain of the American Institute of Architects.

The first such theater, the Cooper Theater,^[9] built in Denver, featured a 146-degree louvered screen (measuring 105 by 35 feet (32 by 11 m)), 814 seats, courtesy lounges on the sides of the theatre for relaxation during pause (including concessions and smoking facilities), and a ceiling which routed air and heating through small vent slots in order to inhibit noise from the edifice'due south ventilation equipment.^[10] It was demolished in 1994 to make style for a Barnes & Noble bookstore.

The second, also called the Cooper Theater,^[xi] was built in St. Louis Park at 5755 Wayzata Boulevard. The last film presented there was Dances with Wolves in January 1991, and at that time the Cooper was considered the "flagship" in the Plitt theatre chain. Efforts were fabricated to preserve the theatre, only at the time it did not authorize for national or state historical landmark status (as it was not more than fifty years old) nor were there local preservation laws. It was torn down in 1992. An office circuitous with a TGI Friday's on the west cease of the property is there today.

The third super-Cinerama, the Indian Hills Theater,^[12] was built in Omaha, Nebraska. It closed on September 28, 2000 as a effect of the defalcation of Carmike Cinemas and the concluding film presented was the rap music-drama Plough It Up. The theater was demolished on August xx, 2001.

A fourth, the Kachina Cinerama Theater, was built in Scottsdale, Arizona by Harry 50. Nace Theatres on Scottsdale Road and opened on November 10, 1960. It seated 600 people. It subsequently became a Harkins theater, then closed in 1989 to make fashion for the Scottsdale Galleria.^[13]

Venues outside the U.South. included the Regent Plaza cinema in Melbourne, Australia,^[fourteen] which was adapted for Cinerama in 1960 to bear witness This is Cinerama and Seven Wonders of the World. The Imperial Theatre in Montreal and the Glendale in Toronto were the Canadian homes for Cinerama. This is Cinerama received its London premiere on 30 September 1954 at the Casino Cinerama Theatre, One-time Compton Street, formerly a alive theatre. The pic ran for 16 months and was followed by the other three strip travelogues. How the West Was Won had its Earth Premiere at the Casino on 1 November 1962 and ran until April 1965 after which the Casino switched to 70mm single lens Cinerama. London had two other iii strip venues, making information technology the only city in the globe with three Cinerama theatres. These were the Coliseum Cinerama, from July 1963 and the Royalty Cinerama from Nov 1963, similar the Casino both converted live venues. The Coliseum played only one film in 3 strip (The Wonderful World of the Brothers Grimm) before switching to 70mm single lens from December 1963, and the Royalty had two runs of Brothers Grimm separated by a run of The All-time of Cinerama before also switching to 70mm unmarried lens in mid 1964. These London venues were directly operated by Cinerama themselves, elsewhere in the UK 3 strip Cinerama venues were operated by the two principal UK circuits, ABC at ABC Bristol Route, Birmingham and Coliseum, Glasgow, Rank at Gaumont, Birmingham and Queens, Newcastle and past independents at the Park Hall, Cardiff, Theatre Purple, Manchester and Abbey, Liverpool. Most of these conversions of existing cinemas came but as Cinerama was switching to single lens and thus had short lives equally iii strip venues before switching to 70mm.

Roman Cinerama Theater (now Isetann Cinerama Recto) at Quezon Boulevard in Recto, Manila and Nation Cinerama Theater in Araneta Center, Quezon City were the simply Cinerama theaters congenital in the Philippines in the 1960s. Both theaters are at present defunct as Roman Super Cinerama burned downwards in the late 1970s and became Isetann Cinerama Recto in 1988 while Nation Cinerama closed down in the early 1970s it is now Manhattan Parkview Residences congenital by Megaworld Corporation.

The last Cinerama theater built was the Southcenter Theatre in 1970, opening nigh the Southcenter Mall of Tukwila, Washington. Information technology closed in 2001.

Cinerama too purchased RKO-Stanley Warner (consisting of theaters formerly owned by Warner Bros. and RKO Pictures) in 1970.

Stanley Warner [edit]

Stanley Warner Corporation acquired 35% of the company^[xv] as well as the exhibition, production and distribution rights to Cinerama in 1953 during product of 7 Wonders of the World which was planned every bit the follow up feature.^[16]

Single-motion-picture show "Cinerama" [edit]

Rising costs of making 3-camera widescreen films caused Cinerama to stop making such films in their original form shortly after the first release of How the West Was Won. The apply of Ultra Panavision 70 for sure scenes (such as the river raft sequence) afterwards printed onto the three Cinerama panels, proved that a more or less satisfactory broad 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 Take a chance, an American-Soviet co-production culled from footage of several Soviet films shot in the rival Soviet 3-pic 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 procedure (which yielded a similar 2.76 aspect ratio to the original Cinerama, although it did not simulate the 146 caste 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).

The less wide but even so spectacular Super Panavision 70 was used to moving picture the Cinerama presentations Grand Prix (1966); 2001: A Space Odyssey (1968), which also featured scenes shot in Todd-AO and MCS-70); Water ice Station Zebra (1968); and Krakatoa, Due east of Java (1969), which too featured scenes shot in Todd-AO.

The other 70mm systems used for unmarried pic Cinerama (Sovscope 70 and MCS-70) were similar to Super Panavision 70. Some films were shot in the somewhat lower resolution Super Technirama 70 process for Cinerama release, including Circus World (1964) and Custer of the West (1967).

In the belatedly 1960s and early 1970s, the Cinerama name was used equally a film distribution company, ironically reissuing single strip lxx mm and 35 mm Cinemascope reduction prints^{[ citation needed ]} of This Is Cinerama (1972).

Legacy [edit]

The Cinerama company exists today equally an entity of the Pacific Theatres chain. In recent years, surviving and new Cinerama prints have been screened at the post-obit venues:

• the Pictureville Cinema at the National Science and Media Museum in Bradford, England, commencement in June 1993^[17]
• the New Neon Movie theater in Dayton, Ohio, from 1996 to 1999
• the refurbished Seattle Cinerama in Seattle showtime in 1999
• Pacific Theatres' Cinerama Dome in Hollywood beginning in 2002

In 1998, Microsoft co-founder Paul Allen purchased Seattle's Martin Cinerama, which and so underwent a major restoration/upgrade to get the Seattle Cinerama.

As of 2015, the Pictureville Movie house, Seattle Cinerama, and Cinerama Dome continue to hold periodic screenings of three-projector Cinerama movies. The Cinerama Dome was designed for the three-projector system but never really had it installed until contempo years as it opened with the kickoff of the single film 70 mm Cinerama films, Information technology'due south a Mad, Mad, Mad, Mad Globe (1963).

The documentary, Cinerama Hazard (2003) directed by David Strohmaier, looked at the history of the Cinerama process, as well every bit digitally recreating the Cinerama feel via clips of true Cinerama films (using transfers from original Cinerama prints). And Turner Amusement (via Warner Bros.) has struck new Cinerama prints of How the West Was Won (1962) for exhibition in true Cinerama theatres around the world.

Cinerama successors, Todd-AO, CinemaScope, and the various seventy mm formats, all attempted to equal or surpass its grandeur while fugitive its problems to greater or bottom degrees of success. In film theaters today the big format IMAX organisation continues the tradition, although the screen is taller and often less wide.

In 2008, a Blu-ray disc of How The West Was Won was released, offering a recreation of Cinerama for domicile viewing.^[18] The three Cinerama images were digitally stitched together and so that the resulting paradigm does non take the visible seams of older copies. Furthermore, as a second viewing option, 3D mapping engineering science was used to produce an image that approximates the curved screen, called "SmileBox".

On January 14, 2012, an original Cinerama photographic camera was used to film a sequence at the Lasky-DeMille Barn, the original abode to Famous Players-Lasky, later to exist renamed Paramount Pictures. This was the showtime film photographed in the Cinerama process in almost 50 years. This sequence is function of a new 12-minute production filmed entirely in the three console process. The new moving picture, In the Picture, was presented at a Cinerama festival at the Cinerama Dome in Hollywood, California on September 30, 2012.^[19]

Features [edit]

All but two of the feature-length films produced using the original 3-strip Cinerama procedure were travelogues or episodic documentaries such equally This Is Cinerama (1952), the commencement moving picture shot in Cinerama. Other travelogues presented in Cinerama were Cinerama Vacation (1955), Seven Wonders of the World (1955), Search for Paradise (1957) and South Seas Hazard (1958). There was also one commercial curt, Renault Dauphine (1960).

Even every bit the Cinerama travelogues were get-go to lose audiences in the late 50s, the spectacular travelogue Windjammer (1958) was released in a competing process chosen 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 theaters in cities which did not take Cinemiracle theaters, and ultimately Cinerama bought upwardly 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 club to brand these films compatible with single film systems for later standard releases, they were shot at 24 frames/s, not the 26 frames/southward of traditional Cinerama.

The following feature films have been advertised as being presented "in Cinerama":^[twenty]

Yr	Title	Filmed in	Notes
1952	This is Cinerama	3-Strip Cinerama	re-released in 1972 in 70 mm Cinerama
1955	Cinerama Holiday	three-Strip Cinerama
1956	Vii Wonders of the Earth	3-Strip Cinerama
1957	Search for Paradise	3-Strip Cinerama
1958	Southward Seas Adventure	3-Strip Cinerama
1958	Windjammer	3-strip Cinemiracle	Later exhibited in Cinerama
1962	The Wonderful World of the Brothers Grimm	three-Strip Cinerama
1962	Holiday in Kingdom of spain	Todd-70	A re-edited version of Smell of Mystery; converted to three-strip Cinemiracle and exhibited in both Cinemiracle and Cinerama
1962	How The Due west Was Won	three-strip Cinerama	Some sequences were filmed in Ultra Panavision seventy
1963	The Best of Cinerama	three-Strip Cinerama
1963	It'south a Mad, Mad, Mad, Mad World	Ultra Panavision 70	Presented in lxx mm Cinerama
1964	Circus World	Super Technirama 70	Presented in 70 mm Cinerama
1964	Mediterranean Holiday	filmed in MCS-70; presented in lxx mm Cinerama
1965	The Gilded Head	Super Technirama 70	Presented in seventy mm Cinerama in Europe simply
1965	La Fayette	Super Technirama 70	Presented in lxx mm Cinerama in Europe only
1965	Chronicle of Flaming Years	Sovscope 70	Presented in 70 mm Cinerama in Europe only
1965	The Black Tulip	MCS-70	Presented in 70 mm Cinerama in Europe simply
1965	The Greatest Story E'er Told	Ultra Panavision seventy	Presented in lxx mm Cinerama
1965	The Hallelujah Trail	Ultra Panavision 70	Presented in 70 mm Cinerama
1965	Battle of the Bulge	Ultra Panavision lxx	Presented in 70 mm Cinerama
1966	Cinerama'south Russian Adventure	Kinopanorama	Presented in both 3-strip and seventy mm Cinerama
1966	Khartoum	Ultra Panavision seventy	Presented in seventy mm Cinerama
1966	Grand Prix	Super Panavision 70 with some sequences in MCS-seventy	Presented in 70 mm Cinerama
1967	Custer of the West	Super Technirama lxx	Presented in 70 mm Cinerama
1968	2001: A Infinite Odyssey	Super Panavision 70 with some scenes in Todd-AO and MCS-70	Presented in 70 mm Cinerama
1968	Ice Station Zebra	Super Panavision 70	Presented in 70 mm Cinerama
1969	Krakatoa, East of Java	Super Panavision lxx and Todd-AO	Presented in seventy mm Cinerama
1970	Song of Norway	Super Panavision seventy	Presented in 70 mm Cinerama in UK and Canada simply
1972	The Great Waltz	35 mm Panavision	Presented in 70 mm Cinerama in UK only
1974	Run, Run, Joe!	Todd-AO 35	Presented in 70 mm Cinerama in Britain but
2015	The Hateful Eight	Ultra Panavision seventy	Presented in lxx mm Cinerama

"Cinerama" video stretching mode [edit]

RCA uses the word "Cinerama" to refer to a display fashion which fills a 16:ix video screen with 4:iii video with, in the words of the manufacturer, "little distortion." Manuals for products offering this style requite no detailed explanation.^[21] One online posting says it consists of "a slight cropping at the top & lesser combined with a slight stretch at only the sides," and praises it.^{[ citation needed ]} The posting suggests that other vendors provide a similar function under different names. Mitsubishi calls it "stretch" style. The RCA Scenium TV also has a "stretch mode" every bit well it is a 4:3 picture stretched straight across.

In that location is no obvious connection between this video mode and any of the Cinerama motility pic processes. It is not clear why the proper noun is used, unless the nonlinear stretch is vaguely evocative of a curved screen. (Ironically, some widescreen cinema processes—non Cinerama—displayed a fault known equally "anamorphic mumps,"^[22] which consisted of a lateral stretch of objects closer to the camera).

In the U.South., RCA does not announced to take registered the word "Cinerama" equally a trademark; conversely, a number of trademarks on "Cinerama," east.chiliad. SN 74270575, are still "live" and held by Cinerama, Inc.

See likewise [edit]

• Cinéorama
• Curved screen
• List of 70 mm films
• Listing of picture formats
• Super Panavision lxx
• Super Technirama 70
• Todd-AO
• Ultra Panavision seventy
• Kinopanorama
• Cinerama Dome
• Seattle Cinerama
• Cinerama Releasing Corporation
• IMAX

References [edit]

1. ^ "Cinerama". world wide web.widescreenmuseum.com. Retrieved 12 Nov 2009.
2. ^ ^{a b} Hart, Martin B. "Cinerama". The American WideScreen Museum. Retrieved 6 Oct 2012.
3. ^ ^{a b} Dempewolff, Richard F. (August 1952). "Movies on a Curved Screen Wrap You in Action". Pop Mechanics. 98 (2): 120–124+. ISSN 0032-4558. Retrieved 6 October 2012.
4. ^ Cinerama Adventure, documentary film made in 2002 – run into external links
5. ^ "How Cinerama Got Information technology'south [sic] Proper noun - The True Story! - Home Theater Forum". 18 November 2008. Archived from the original on 18 Nov 2008. {{cite web}}: CS1 maint: bot: original URL status unknown (link)
6. ^ Martin Hart, The American Widescreen Museum website.
7. ^ Film preservation#Obstacles in restoration
8. ^ Wther, Bosley Cro (October 1952). "Pic Review - New Flick Projection Shown Hither; Giant Wide Angle Screen Utilized; NOVEL TECHNIQUE IN FILMS UNVEILED - NYTimes.com". The New York Times.
9. ^ "Cooper Theatre in Denver, CO - Cinema Treasures". cinematreasures.org.
10. ^ "cooper". Cinerama.topcities.com. Archived from the original on 2013-01-04. Retrieved 2013-02-13 .
11. ^ "Cooper Theatre in St. Louis Park, MN - Movie theatre Treasures". cinematreasures.org.
12. ^ "Indian Hills Theater in Omaha, NE - Cinema Treasures". cinematreasures.org.
13. ^ "Scottsdale Remembers - Recollections of Our Past". Retrieved July 23, 2015.
14. ^ "Regent Theatre Melbourne". Whitehat.com.au. Archived from the original on 2013-01-29. Retrieved 2013-02-xiii .
15. ^ "Cinerama Inc., Link to SW Clearer". Diverseness. September 23, 1953. p. 10. Retrieved October 10, 2019 – via Archive.org.
16. ^ "'7 Wonders of Globe,' second for Cinerama, To Accept Semi-Story Line". Variety. September 16, 1953. p. one. Retrieved October 6, 2019 – via Archive.org.
17. ^ "Cinerama in the UK: The history of 3-strip cinema in Pictureville Picture palace". National Scientific discipline and Media Museum blog. National Scientific discipline and Media Museum. Retrieved 18 July 2017.
18. ^ Keith Phipps (November 11, 2008). "Imagine Seeing John Wayne in IMAX; That'due south sort of what watching How the West Was Won is similar". Slate Mag.
19. ^ ""In the Picture" in iii-strip Cinerama - Bandage & Credits". www.in70mm.com.
20. ^ "Cinerama Fly vi". Widescreen Museum. Retrieved 2013-02-13 .
21. ^ [1] ^{[ dead link ]}
22. ^ "The Ultra Panavision Wing". Widescreen Museum. 1953-04-27. Retrieved 2013-02-13 .

Bibliography [edit]

• "The Waller Flexible Gunnery Trainer." By Fred Waller. In: Periodical of the SMPTE, Vol. 47, July, 1946, pp. 73–87
• "New Motion picture Projection Arrangement Shown Here; Giant Wide Bending Screen Utilized." Bosley Crowther, The New York Times, October 1, 1952, p. ane
• "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 Moving-picture show Projection System." Bosley Crowther, The New York Times, October 5, 1952, p. X1
• Robert East. Carr and R. K. Hayes: Wide Screen Movies. A History and Filmography of Wide Estimate Filmmaking, MC Farland & Visitor, Inc., 1988. ISBN 0-89950-242-3 Chapter II. "The Multiple-Moving picture and Deep Curved Screen Processes" pp. 11–54
• Thomas, Lowell: So long until tomorrow: from Quaker Loma to Kathmandu, 1000. K. Hall 1977, ISBN 0-8161-6553-X Chapter "The Wonderful Life and Premature Death of Cinerama"
• "Scenium" HD50LPW165 RCA receiver; full clarification of Cinerama mode in the instruction book says "The paradigm of a 4:iii video signal is centered, expanding in the horizontal management to fill up the brandish with piddling distortion" whereas in "Stretch" fashion "The image of a four:3 video point is stretched horizontally past approximately 33% while the vertical size stays the same."

External links [edit]

Wikimedia Commons has media related to Cinerama.

• The American WideScreen Museum Rich, encyclopedic website on widescreen motion-picture processes
• Cinerama Detailed information on the history of Cinerama
• Cinerama Corporation drove, 1950-1986, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
• Cinerama Adventure website About the documentary on Cinerama
• iatse354.com Transcript of a 1999 interview with ii of the Denver Cooper Theater's original IATSE projectionists past Joel Genung
• Widescreen Movies Corrections Errata for the Carr & Hayes Volume cited above. Periodically updated, the error list is now threescore pages long
• Seattle Cinerama Sometimes schedules special events showing original Cinerama features
• Wide Screen Movies Magazine website – information on all widescreen formats, including Cinerama
• What is Cinerama?

Source: https://en.wikipedia.org/wiki/Cinerama

Posted by: johninattleaces.blogspot.com

Share this post