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Ultra Panavision 70

April 26, 2024

Ultra Panavision 70 and MGM Camera 65 were, from 1957 to 1966, the marketing brands that identified motion pictures photographed with Panavision's anamorphic movie camera lenses on 65 mm film. Ultra Panavision 70 and MGM Camera 65 were shot at 24 frames per second (fps) using anamorphic camera lenses. Ultra Panavision 70 and MGM Camera 65's anamorphic lenses compressed the image 1.25 times, yielding an extremely wide aspect ratio of 2.76:1 (when a 70 mm projection print was used).

Ultra Panavision 70
TypeFilmmaking technology
InventorRobert Gottschalk
Takuo Miyagishima
Inception1957 (1957)
ManufacturerPanavision
Models madeUltra-Panatar, APO-Panatar
The 1959 historical epic Ben-Hur, particularly its iconic chariot race sequence, is arguably the most popular use of Ultra Panavision 70.

Ultra Panavision saw much less use than its sibling, the more popular Super Panavision 70, and was only used on ten films from 1957 to 1966. However, nearly fifty years later, Robert Richardson famously resurrected Ultra Panavision 70 after the lens test he came to do at the Panavision headquarters for the upcoming project with Quentin Tarantino, where he discovered that the lenses and equipment were still intact. Tarantino was fascinated by this and was able to refurbish the lenses for use in his next film, The Hateful Eight; which was shot entirely on 65 mm film using Ultra Panavision lenses, the first film to do so since Khartoum. Tarantino also released the film as a roadshow release, and this was the first time there were widely circulated 70 mm film prints to theaters with 70 mm projectors since 1992's Far and Away.[1] This ultimately led to a resurgence in the use of Ultra Panavision lenses, which have now been used (albeit with digital cameras) to shoot blockbusters such as Rogue One and Avengers: Endgame.[2][3]

History edit

Metro-Goldwyn-Mayer (MGM) approached Panavision founder Robert Gottschalk in the late 1950s to create a large-format widescreen system capable of filling the extremely wide screens of Cinerama theaters while using a single projector, and would also be capable of producing high-quality standard 70 mm and 35 mm CinemaScope prints, which Cinerama's three-strip process did not allow for. Gottschalk developed a lens system using front-mounted prisms to impart a slight 1.25x squeeze onto a 5-perf 65 mm negative, resulting in a projected ratio of 2.76:1. These prism lenses were released under the name MGM Camera 65 in 1956.

In 1960, MGM's production of Mutiny on the Bounty, which was being produced in the format, ran far over-budget, and MGM was forced to sell off many of its assets to account for the losses. This allowed Panavision to purchase the Camera 65 equipment it had developed for MGM, and the system was renamed Ultra Panavision 70. As the prism lenses were bulky, oddly shaped and optically flawed, Panavision's optical engineer Takuo Miyagishima set to work on designing a more traditional set of 1.25x lenses using cylindrical glass, which became known as the Ultra Panatar series.

In 1963, the Cinerama Dome in Los Angeles became the first Cinerama theater built specifically for Ultra Panavision 70, and the theater opened with the premiere of It's a Mad, Mad, Mad, Mad World, which was filmed with the new Ultra Panatar lenses.

70 mm Ultra Panavision prints could be produced directly from the negative for use on flat screens, or "rectified" with increased compression towards the sides for use on curved Cinerama screens.

Panavision also developed a non-anamorphic 70 mm photographic system in 1959; this was named Super Panavision 70.[4]

Differences from Todd-AO edit

The Ultra Panavision 70 and MGM Camera 65 lenses and cameras were similar to the 1955 version of the Todd-AO 65 mm photographic process, in that both were intended as replacements for three-strip Cinerama. The Todd-AO system was shot at 30 frames per second (fps), while Ultra Panavision 70 and MGM Camera 65 used the industry standard of 24 fps, and while the original Todd-AO process included the use of a deeply curved screen similar to that used for Cinerama (with fisheye optics to recreate its peripheral vision),[5] its narrower, non-anamorphic 2.20:1 aspect ratio was incompatible with true Cinerama screens without cropping.

Films edit

The following films were shot in either MGM Camera 65 or Ultra Panavision 70:[6]

Many sources often claim the 1959 film The Big Fisherman was filmed in Ultra Panavision, but Panavision itself says that the film was shot in Super Panavision 70.[16]

Additionally, several films have been recorded digitally in conjunction with Ultra Panavision 70 lenses: Rogue One (2016), Bright (2017), Avengers: Infinity War (2018), Avengers: Endgame (2019) and The King (2019) with the Arri Alexa 65 camera, and The Hate U Give (2018) and Like a Boss (2020) with the Panavision Millennium DXL camera.

See also edit

References edit

  1. ^ "How Quentin Tarantino Resurrected Ultra Panavision 70 for 'The Hateful Eight'". 8 December 2015.
  2. ^ "The Amazing Camera Technology Behind the Look of Rogue One". 16 December 2016.
  3. ^ "The Ultra Panavision 70 Lens: The Classic Glass Behind Avengers Endgame". 5 May 2019.
  4. ^ Samuelson, p. xiv.
  5. ^ "In the Splendour of 70mm", Grant Lobban, Journal of the BKSTS Vol. 68 No. 12 Dec 1986
  6. ^ Haines, p. 116.
  7. ^ The most difficult scenes to shoot were captured in Ultra Panavision, while the rest of the film was shot in three-camera Cinerama. The Ultra Panavision scenes were then optically separated into three images, and projected using the three-project Cinerama projection system. See: Hutchison, p. 100.
  8. ^ Hall and Neale, p. 154; Lev, p. 115.
  9. ^ McGhee, p. 356.
  10. ^ Balio, p. 185.
  11. ^ Hughes, p. 239.
  12. ^ Finler, p. 371.
  13. ^ Kastrenakes, p. 2
  14. ^ Kastrenakes (11 July 2015). "Quentin Tarantino defends the decision to shoot — and screen — The Hateful Eight on 70mm film". The Verge. Retrieved 6 August 2015.
  15. ^ Dillard, Samantha (September 20, 2018). "Christopher Robin: Making Magic with Mixed Formats". American Cinematographer. American Society of Cinematographers. Retrieved January 11, 2019.
  16. ^ "About Panavision. The 1950s." Panavision.com. No date. Accessed 2012-01-29.

Bibliography edit

  • Altman, Rick. Sound Theory, Sound Practice. Florence, Ky.: Psychology Press, 1992.
  • Balio, Tino. United Artists: The Company That Changed the Film Industry. Madison, Wisc.: University of Wisconsin Press, 1987.
  • Belton, John. Widescreen Cinema. Cambridge, Mass.: Harvard University Press, 1992.
  • Block, Alex Ben and Wilson, Lucy Autrey. George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies, Including Untold Secrets of Their Financial and Cultural Success. New York: HarperCollins, 2010.
  • Burum, Stephen H. American Cinematographer Manual. Hollywood, Calif.: ASC Press, 2007.
  • Cameron, James Ross. Cameron's Encyclopedia on Sound Motion Pictures. Manhattan Beach, N.Y.: Cameron Pub. Co., 1930.
  • Casper, Drew. Postwar Hollywood, 1946-1962. Malden, Mass.: Blackwell, 2007.
  • Carr, Robert E. and Hayes, R.M. Wide Screen Movies. Jefferson, NC: McFarland, 1988.
  • Clark, Al. The Film Year Book 1984. New York : Grove Press, 1983.
  • Eldridge, David. Hollywood's History Films. London: Tauris, 2006.
  • Enticknap, Leo. Moving Image Technology: From Zoetrope to Digital. London: Wallflower, 2005.
  • Eyman, Scott. The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930. New York: Simon and Schuster, 1997.
  • Haines, Richard W. Technicolor Movies: The History of Dye Transfer Printing. Jefferson, N.C.: McFarland, 1993.
  • Hall, Sheldon and Neale, Stephen. Epics, Spectacles, and Blockbusters: A Hollywood History. Detroit: Wayne State University Press, 2010.
  • Hughes, Howard. When Eagles Dared: The Filmgoers' History of World War II. London: I.B. Tauris, 2011.
  • Hutchison, David. Film Magic: The Art and Science of Special Effects. New York: Prentice-Hall, 1987.
  • IMAGO. Making Pictures: A Century of European Cinematography. New York: Abrams, 2003.
  • Lev, Peter. Transforming the Screen: 1950-1959. Berkeley, Calif.: University of California Press, 2003.
  • Lightman, Herb A. "Why MGM Chose Camera 65." American Cinematographer. March 1960.
  • McGhee, Richard D. John Wayne: Actor, Artist, Hero. Jefferson, N.C.: McFarland & Co., 1990.
  • Reid, John Howard. 20th Century-Fox: CinemaScope. Morrisville, N.C.: Lulu Press, 2009.
  • Samuelson, David W. Panaflex Users' Manual. Boston: Focal Press, 1996.
  • Sklar, Robert. Film: An International History of the Medium. New York: Prentice Hall 1993.
  • Tibbetts, John C. American Classic Screen Features. Lanham, Md.: Scarecrow Press, 2010.
  • Ward, Peter. Picture Composition for Film and Television. Oxford, UK: Focal, 2003.

April 26, 2024
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Ultra Panavision 70 and MGM Camera 65 were from 1957 to 1966 the marketing brands that identified motion pictures photographed with Panavision s anamorphic movie camera lenses on 65 mm film Ultra Panavision 70 and MGM Camera 65 were shot at 24 frames per second fps using anamorphic camera lenses Ultra Panavision 70 and MGM Camera 65 s anamorphic lenses compressed the image 1 25 times yielding an extremely wide aspect ratio of 2 76 1 when a 70 mm projection print was used Ultra Panavision 70TypeFilmmaking technologyInventorRobert GottschalkTakuo MiyagishimaInception1957 1957 ManufacturerPanavisionModels madeUltra Panatar APO Panatar The 1959 historical epic Ben Hur particularly its iconic chariot race sequence is arguably the most popular use of Ultra Panavision 70 Ultra Panavision saw much less use than its sibling the more popular Super Panavision 70 and was only used on ten films from 1957 to 1966 However nearly fifty years later Robert Richardson famously resurrected Ultra Panavision 70 after the lens test he came to do at the Panavision headquarters for the upcoming project with Quentin Tarantino where he discovered that the lenses and equipment were still intact Tarantino was fascinated by this and was able to refurbish the lenses for use in his next film The Hateful Eight which was shot entirely on 65 mm film using Ultra Panavision lenses the first film to do so since Khartoum Tarantino also released the film as a roadshow release and this was the first time there were widely circulated 70 mm film prints to theaters with 70 mm projectors since 1992 s Far and Away 1 This ultimately led to a resurgence in the use of Ultra Panavision lenses which have now been used albeit with digital cameras to shoot blockbusters such as Rogue One and Avengers Endgame 2 3 Contents 1 History 1 1 Differences from Todd AO 2 Films 3 See also 4 References 5 BibliographyHistory editMetro Goldwyn Mayer MGM approached Panavision founder Robert Gottschalk in the late 1950s to create a large format widescreen system capable of filling the extremely wide screens of Cinerama theaters while using a single projector and would also be capable of producing high quality standard 70 mm and 35 mm CinemaScope prints which Cinerama s three strip process did not allow for Gottschalk developed a lens system using front mounted prisms to impart a slight 1 25x squeeze onto a 5 perf 65 mm negative resulting in a projected ratio of 2 76 1 These prism lenses were released under the name MGM Camera 65 in 1956 In 1960 MGM s production of Mutiny on the Bounty which was being produced in the format ran far over budget and MGM was forced to sell off many of its assets to account for the losses This allowed Panavision to purchase the Camera 65 equipment it had developed for MGM and the system was renamed Ultra Panavision 70 As the prism lenses were bulky oddly shaped and optically flawed Panavision s optical engineer Takuo Miyagishima set to work on designing a more traditional set of 1 25x lenses using cylindrical glass which became known as the Ultra Panatar series In 1963 the Cinerama Dome in Los Angeles became the first Cinerama theater built specifically for Ultra Panavision 70 and the theater opened with the premiere of It s a Mad Mad Mad Mad World which was filmed with the new Ultra Panatar lenses 70 mm Ultra Panavision prints could be produced directly from the negative for use on flat screens or rectified with increased compression towards the sides for use on curved Cinerama screens Panavision also developed a non anamorphic 70 mm photographic system in 1959 this was named Super Panavision 70 4 Differences from Todd AO edit The Ultra Panavision 70 and MGM Camera 65 lenses and cameras were similar to the 1955 version of the Todd AO 65 mm photographic process in that both were intended as replacements for three strip Cinerama The Todd AO system was shot at 30 frames per second fps while Ultra Panavision 70 and MGM Camera 65 used the industry standard of 24 fps and while the original Todd AO process included the use of a deeply curved screen similar to that used for Cinerama with fisheye optics to recreate its peripheral vision 5 its narrower non anamorphic 2 20 1 aspect ratio was incompatible with true Cinerama screens without cropping Films editThe following films were shot in either MGM Camera 65 or Ultra Panavision 70 6 Raintree County 1957 credited as MGM Camera 65 Ben Hur 1959 credited as MGM Camera 65 How the West Was Won 1962 selected scenes only in Ultra Panavision 7 Mutiny on the Bounty 1962 credited as Ultra Panavision It s a Mad Mad Mad Mad World 1963 filmed in Ultra Panavision Also projected using the single projector Cinerama system 8 The Fall of the Roman Empire 1964 credited as Ultra Panavision The Greatest Story Ever Told 1965 filmed in Ultra Panavision Also originally projected using the single projector Cinerama system 9 The Hallelujah Trail 1965 filmed in Ultra Panavision Also originally projected using the single projector Cinerama system 10 Battle of the Bulge 1965 filmed in Ultra Panavision Also originally projected using the single projector Cinerama system 11 Khartoum 1966 filmed in Ultra Panavision Also originally projected using the single projector Cinerama system 12 The Hateful Eight 2015 Directed by Quentin Tarantino first film shot in this process since Khartoum Filmed in Ultra Panavision 70 and projected with the single projector Cinerama system in selected theaters 13 14 Christopher Robin 2018 some scenes filmed in Ultra Panavision 70 Also filmed with Panavision 35 mm anamorphic lenses on both 35 mm film and Arri Alexa digital cameras and in Panavision System 65 with spherical lenses The entire film is shown in the 2 40 1 aspect ratio 15 Many sources often claim the 1959 film The Big Fisherman was filmed in Ultra Panavision but Panavision itself says that the film was shot in Super Panavision 70 16 Additionally several films have been recorded digitally in conjunction with Ultra Panavision 70 lenses Rogue One 2016 Bright 2017 Avengers Infinity War 2018 Avengers Endgame 2019 and The King 2019 with the Arri Alexa 65 camera and The Hate U Give 2018 and Like a Boss 2020 with the Panavision Millennium DXL camera See also editSuper Technirama 70References edit How Quentin Tarantino Resurrected Ultra Panavision 70 for The Hateful Eight 8 December 2015 The Amazing Camera Technology Behind the Look of Rogue One 16 December 2016 The Ultra Panavision 70 Lens The Classic Glass Behind Avengers Endgame 5 May 2019 Samuelson p xiv In the Splendour of 70mm Grant Lobban Journal of the BKSTS Vol 68 No 12 Dec 1986 Haines p 116 The most difficult scenes to shoot were captured in Ultra Panavision while the rest of the film was shot in three camera Cinerama The Ultra Panavision scenes were then optically separated into three images and projected using the three project Cinerama projection system See Hutchison p 100 Hall and Neale p 154 Lev p 115 McGhee p 356 Balio p 185 Hughes p 239 Finler p 371 Kastrenakes p 2 Kastrenakes 11 July 2015 Quentin Tarantino defends the decision to shoot and screen The Hateful Eight on 70mm film The Verge Retrieved 6 August 2015 Dillard Samantha September 20 2018 Christopher Robin Making Magic with Mixed Formats American Cinematographer American Society of Cinematographers Retrieved January 11 2019 About Panavision The 1950s Panavision com No date Accessed 2012 01 29 Bibliography editAltman Rick Sound Theory Sound Practice Florence Ky Psychology Press 1992 Balio Tino United Artists The Company That Changed the Film Industry Madison Wisc University of Wisconsin Press 1987 Belton John Widescreen Cinema Cambridge Mass Harvard University Press 1992 Block Alex Ben and Wilson Lucy Autrey George Lucas s Blockbusting A Decade by Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success New York HarperCollins 2010 Burum Stephen H American Cinematographer Manual Hollywood Calif ASC Press 2007 Cameron James Ross Cameron s Encyclopedia on Sound Motion Pictures Manhattan Beach N Y Cameron Pub Co 1930 Casper Drew Postwar Hollywood 1946 1962 Malden Mass Blackwell 2007 Carr Robert E and Hayes R M Wide Screen Movies Jefferson NC McFarland 1988 Clark Al The Film Year Book 1984 New York Grove Press 1983 Eldridge David Hollywood s History Films London Tauris 2006 Enticknap Leo Moving Image Technology From Zoetrope to Digital London Wallflower 2005 Eyman Scott The Speed of Sound Hollywood and the Talkie Revolution 1926 1930 New York Simon and Schuster 1997 Haines Richard W Technicolor Movies The History of Dye Transfer Printing Jefferson N C McFarland 1993 Hall Sheldon and Neale Stephen Epics Spectacles and Blockbusters A Hollywood History Detroit Wayne State University Press 2010 Hughes Howard When Eagles Dared The Filmgoers History of World War II London I B Tauris 2011 Hutchison David Film Magic The Art and Science of Special Effects New York Prentice Hall 1987 IMAGO Making Pictures A Century of European Cinematography New York Abrams 2003 Lev Peter Transforming the Screen 1950 1959 Berkeley Calif University of California Press 2003 Lightman Herb A Why MGM Chose Camera 65 American Cinematographer March 1960 McGhee Richard D John Wayne Actor Artist Hero Jefferson N C McFarland amp Co 1990 Reid John Howard 20th Century Fox CinemaScope Morrisville N C Lulu Press 2009 Samuelson David W Panaflex Users Manual Boston Focal Press 1996 Sklar Robert Film An International History of the Medium New York Prentice Hall 1993 Tibbetts John C American Classic Screen Features Lanham Md Scarecrow Press 2010 Ward Peter Picture Composition for Film and Television Oxford UK Focal 2003 Retrieved from https en wikipedia org w index php title Ultra Panavision 70 amp oldid 1197364491, wikipedia, wiki, book, books, library,

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