Widescreen Museum The Super Panavision 70 Wing 3

Widescreen Museum The Super Panavision 70 Wing 3 The panavision 65mm silenced studio camera. aluminum colored paint and a snappy logo. this camera could be fitted with spherical optics for use on super panavision 70 productions or with anamorphic optics (and a quick name plate change on the magazine cover) to shoot ultra panavision 70 films. the camera core was the mitchell fc 65mm camera. It must be remembered, however, that super panavision came out of the development of the m g m camera 65 ultra panavision 70 project and these systems were originally intended to be used, for the most part, to produce extremely high quality 35mm reduction general release prints. like vistavision, the concept was to use a large negative to.

Widescreen Museum The Super Panavision 70 Wing 3 Widescreen museum the technirama wing page 3. i n 1959, walt disney used technirama in the production of his animated feature sleeping beauty . disney wanted to participate in the 70mm roadshow presentation format used on a number of contemporary films. using optics developed by panavision, inc., technirama's 35mm horizontal negative was. Super panavision 70 is the marketing brand name used to identify movies photographed with panavision 70 mm spherical optics between 1959 and 1983. it has since been replaced by panavision system 65 . ultra panavision 70 was similar to super panavision 70, though ultra panavision lenses were anamorphic, which allowed for a significantly wider. The adverts—panavision 70, super panavision, super panavision 70 and panavision super 70—are, in reality, four names for the same format: the first beginning with “exodus” in 1960 (although posters proclaimed the contrary), and the last being “far and away” in 1992 to show that updated cameras and lenses were used. Three strip cinerama did not use anamorphic lenses, although two of the systems used to produce the 70mm prints (ultra panavision 70 and super technirama 70) did employ anamorphic lenses, 35mm (~1.38 in) anamorphic reduction prints were produced for exhibition in theatres with anamorphic cinemascope compatible projection lenses.

Widescreen Museum The Super Panavision 70 Wing 3 The adverts—panavision 70, super panavision, super panavision 70 and panavision super 70—are, in reality, four names for the same format: the first beginning with “exodus” in 1960 (although posters proclaimed the contrary), and the last being “far and away” in 1992 to show that updated cameras and lenses were used. Three strip cinerama did not use anamorphic lenses, although two of the systems used to produce the 70mm prints (ultra panavision 70 and super technirama 70) did employ anamorphic lenses, 35mm (~1.38 in) anamorphic reduction prints were produced for exhibition in theatres with anamorphic cinemascope compatible projection lenses. 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. The super panavision 70 system is notable for producing a widescreen aspect ratio of 2.20:1, which is achieved without the use of anamorphic lenses. instead, it uses spherical lenses, which can.