1100:, the experts concurred that the VistaVision process was the best system available. Having not been properly maintained for over ten years, Paramount sent a large shipment of cameras for the visual effects team to sort through, of which VVHS1 played a very important part. George Lucas tasked Richard Edlund and his future-ILM effects wizards to use VVHS1 to photograph a great number of high-speed miniature effects shots, including the explosion of the Death Star, according to their own camera reports. Measures 31 in. long × 17 in. tall × 18 in. wide. Accompanied with original Mitchell geared head, original case (and spare VVHS2 case), lens shade kit with case, (2) 2,000-ft. magazines sets, external viewfinder with case, high speed motor in original case, backup high speed motor with original case, VistaVision studio power unit with original case and an additional original case with accessories. This camera started the VistaVision renaissance for using its unique capabilities for special effects that continued for two decades. . . . Comes with a letter of provenance from Roy H. Wagner, ASC. US$ 60,000–$ 80,000 (winning bid US$ 60,000).
1055:. Included with the camera are: VV1 blimp in case (hand-built by studio craftsmen), lens shade kit for blimp with case, VV1 motor with case, a removable through-the-lens viewfinder system, VistaVision Mitchell geared head, Cooke Panchro lens and bellows, (2) vintage camera cases, (2) 1000-ft. magazine sets, lens shade kit with accessories, external viewfinder and Fearless camera dolly. Comes with a letter of provenance by Roy H. Wagner, ASC, who states, "The camera worked its way through every picture that Paramount ever did in VistaVision, and went on to do substantial visual effects work on films in the 1960s and 70s. . . . In the last 35 years I've never seen a VistaVision camera this complete." From the collection of Debbie Reynolds. EST US$ 30,000–$ 50,000 (winning bid US$ 65,000).
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in 1961, the format has not been used as a primary imaging system for
American feature films. However, VistaVision's high resolution made it attractive for some special-effects work within some later feature films. Many used American VistaVision cameras were sold to the international market beginning
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The negative was "scribed" with a new form of cue mark made at the start of each 2000-foot (610 m) reel. Similar in shape to an F, the cue mark contained staffs that directed the projectionist to the top of the frame for the three recommended aspect ratios. The projectionists would rack their framing
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had very limited (two or three) prints struck in the eight-perforation VistaVision format in which they were filmed. Although the clarity of these eight-perforation prints was striking, they were used only for premiere or preview engagements between 1954 and 1956 and required special projection
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Paramount's technicians dubbed this process the "Lazy 8" system during development and while shooting "White
Christmas"—"lazy" for the horizontal film path, and "8" for the eight-sprocket image width. Paramount trade-named the process "VistaVision" early in 1954 The process afforded a wider
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This "flat" widescreen process was adopted by other studios, and by the end of 1953, more than half of the theaters in the U.S. had installed wide screens. However, because a smaller portion of the image was used and magnification was increased, excessive grain and soft images plagued early
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and ten additional years of very difficult production as
Hollywood moved out of the safety of sound stages into the rugged extremes of spectacular distant location productions. According to very limited surviving camera reports VV1 was one of six cameras on Alfred Hitchcock's
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VistaVision could be (and most often was) further printed down to standard vertical 35 mm reels, keeping its 1.66:1 widescreen aspect ratio, which meant that exhibitors did not need to purchase additional projection equipment, as was often required for
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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
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In shooting in the VistaVision process, film was run horizontally rather than vertically, and instead of exposing two simultaneous four-perforation frames, the entire eight perforations were used for one image. This format is identical to the
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used VistaVision for many of his films in the 1950s. However, by the late 1950s with the introduction of finer-grained color stocks and the disadvantage of shooting twice as much negative stock, VistaVision became obsolete. Less expensive
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in the early 1960s, which led to a significant number of VistaVision format productions (which did not use the trade name) in countries such as Italy and Japan from the 1960s to 1980s. The format was used infrequently for lesser-known
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with higher resolutions optimized for special effects work had together rendered VistaVision mostly obsolete even for special effects work. Nevertheless, in 2008, ILM was still using the format in some production steps, such as for
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Lot 1217. Historic Ten
Commandments VistaVision #1 (VV1) motion picture camera. . . . VistaVision #1 (VV1) was the very first Mitchell VistaVision camera ever built, having started its service project, Cecil B. DeMille's 1956 epic
1092:. Quite possibly the most influential and important motion picture camera in history, VistaVision High Speed #1's first project started with one of Hollywood's grandest illusions: the parting of the Red Sea in Cecil B. DeMille's
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of 1.5:1 versus the conventional 1.37:1 Academy ratio, and a much larger image area. In order to satisfy theaters with various screen sizes, VistaVision films were shot so that they could be shown in one of three recommended
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equipment. This exhibition process was impractical because for the footage to travel through a projector at the normal 24 frames per second, the film had to roll at three feet per second, double the speed of
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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.
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Paramount took this concept a step further, using old Stein cameras from the 1930s that employed a two-frame color format that was itself adopted from a 1902 three-frame color film process developed by
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so that the staff touched the top of the screen (at the appropriate ratio), and the framing was set for the rest of the reel. For many home-video releases, these cue marks have been digitally erased.
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with an estimated value of US$ 30,000 to $ 50,000, with a winning bid of US$ 65,000. Also offered at the same auction was VistaVision High Speed #1 (VVHS1), which was used to film the parting of the
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widescreen presentations. Some studios sought to compensate for these effects by shooting color films with a full aperture gate (rather than the academy aperture) and then reducing the image in
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high, the camera exposed eight perforations (essentially two frames) consisting of one four-perforation image through a red filter and one four-perforation image through a green filter.
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and causing many technical and mechanical problems. Aside from these prints, all other VistaVision films were shown in the conventional four-perforation (vertical) format as planned.
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was the first
Paramount film to utilize the VistaVision method, but perhaps the most well-known film to be filmed completely in VistaVision format is Alfred Hitchcock's
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Monstro sensor is a modern incarnation of the VistaVision sensor. Cameras that utilize the sensor include the Red Ranger
Monstro, DSMC2 Monstro and
713:) in complex process shots. For more than two decades after this, VistaVision was often used as an originating and intermediate format for shooting
1096:(1956) (only two Mitchell VistaVision High Speed cameras were ever made). When 20th Century Fox was faced with the visual effects challenges of
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to this or any other aspect ratio. Shortly thereafter, it was announced that all of the studio's productions would be shot in the 1:66:1 ratio.
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because a larger negative area compensates against the increased grain created when shots are optically composited. By the early 21st century,
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because there were not enough IMAX cameras to cover all of the angles needed for the shot. More recently, certain key sequences of the film
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of five units wide by three units high for an aspect ratio of 1.66:1. By using a differently sized aperture plate and wider lens, a normal
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Vol. 11, Issue 31, 2015 (on US newsstands Feb 2015), pages 40–41. Large format magazine article with nine photos, including technical.
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Bishop, John. R and Ryder, Loren L. ("As told to Arthur E. Gavin"). American
Cinematographer 34:12 (December 1953), 588.
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format, which also uses a 1.85:1 ratio but one-third more frame area than does a standard 1.85:1 matted into a
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camera lenses; SOM Berthiot made a special zoom just for VistaVision applications, but it saw very little use.
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believed that VistaVision would become the forerunner of widescreen projection for the following reasons:
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lenses instead of multiple film strips, a widescreen process that soon became known to the public as
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A VistaVision 35 mm horizontal camera film frame (the dotted area shows the area actually used).
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1103:(Auction took place September 30, 2015. Catalog 83MB PDF and Prices Realized List PDF available at
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1058:(Auction took place September 30, 2015. Catalog 83MB PDF and Prices Realized List PDF available at
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Gavin, Arthur E. "Technical
Progress in 1954." American Cinematographer 35:4 (April 1954), 24-5.
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film formats in the 1970s. Both IMAX and OMNIMAX are oriented sideways, as is VistaVision.
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In response, Paramount
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In many ways, VistaVision was a testing ground for cinematography ideas that evolved into
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VistaVision allowed patrons to see more and therefore gain more enjoyment from a film.
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After months of trade screenings, Paramount introduced VistaVision to the public at
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process, known as Paravision. This process utilized a screen size that yielded an
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VistaVision could be shown at widescreen aspect ratios between 1.66 and 2.00:1.
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As a response to an industry recession caused largely by the popularity of
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930:"The Development of VistaVision: Paramount Marches to a Different Drummer"
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of 1.485 inches (37.72 mm) by 0.981 inches (24.92 mm).
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VistaVision did not force the elimination of seats in any theater (as did
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While most competing widescreen film systems used magnetic audio and true
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Slightly less depth of field than that of vertical pulldown 35 mm.
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Horizontal pulldown from right to left (viewed from emulsion side).
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announced the introduction of a simpler version of Cinerama using
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on October 14, 1954, with its first film shot in the process,
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Lot 1542. Mitchell VistaVision High Speed #1 (VVHS1) used on
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In 1975, a small group of artists and technicians (including
440:'s optical printer. This process is a predecessor of today's
1126:"Red's new flagship camera is the $ 80,000 Monstro 8K VV"
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was the last American film to be shot in the format, and
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films was offered at auction on September 30, 2015 by
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The camera numbered VistaVision #1 that was used on
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203:. Unsourced material may be challenged and removed.
733:Indiana Jones and the Kingdom of the Crystal Skull
599:became standard during the later 1950s and 1960s.
768:Spherical lenses, usually adapted and remounted
1001:"Widescreen Museum - The VistaVision Wing - 2"
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1142:"The Story of VistaVision" by Keith Wilson,
701:. A retooled VistaVision camera dubbed the
655:. Unsourced material may be challenged and
64:Learn how and when to remove these messages
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748:were shot in VistaVision, and in the film
602:Since the last American VistaVision film,
675:Learn how and when to remove this message
281:Learn how and when to remove this message
263:Learn how and when to remove this message
161:Learn how and when to remove this message
323:format that was created by engineers at
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709:) was used by the group (later called
97:Please improve this article by adding
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653:adding citations to reliable sources
201:adding citations to reliable sources
705:(named for special effects master
468:used by 35 mm still cameras.
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1202:The Paramount VistaVision Process
492:, early VistaVision carried only
394:, augmented by seven channels of
45:This article has multiple issues.
27:Motion picture camera film format
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188:needs additional citations for
53:or discuss these issues on the
321:35 mm motion picture film
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779:Eight perforations per frame.
572:The Battle of the River Plate
481:: 1.66:1, 1.85:1 and 2.00:1.
99:secondary or tertiary sources
1181:Motion Picture High Fidelity
711:Industrial Light & Magic
526:, and CinemaScope at first).
1585:Motion picture film formats
1124:Dent, Steve (Oct 9, 2017).
884:(winning bid: US$ 60,000.)
751:Scott Pilgrim vs. the World
1606:
839:The Battle of Baktan Cross
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721:, advanced film scanning,
719:computer-generated imagery
300:of the VistaVision format.
915:List of VistaVision films
803:List of VistaVision films
797:Films shot in VistaVision
503:Paramount chief engineer
1198:at the Widescreen Museum
1196:The Story of VistaVision
1192:at the Widescreen Museum
1177:at the Widescreen Museum
1026:, 33:25, March 20, 1954.
1024:Independent Film Journal
1005:www.widescreenmuseum.com
758:Technical specifications
347:such as the first three
315:is a higher resolution,
1206:Theatre Catalog 1954-55
595:and the more expensive
962:"The VistaVision Wing"
330:Paramount did not use
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86:relies excessively on
1512:Anamorphic widescreen
1190:VistaVision Reference
1105:ProfilesinHistory.com
1086:. 2015. p. 505.
1060:ProfilesinHistory.com
1043:. 2015. p. 419.
928:Hart, Martin (1996).
827:The End of Evangelion
617:Special-effects usage
613:until at least 2000.
554:Strategic Air Command
535:Radio City Music Hall
454:Edward Raymond Turner
403:Twentieth Century-Fox
307:
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1094:The Ten Commandments
1080:Hollywood Auction 74
1048:The Ten Commandments
1037:Hollywood Auction 74
910:List of film formats
874:The Ten Commandments
857:The Ten Commandments
723:digital intermediate
649:improve this section
197:improve this article
1404:Super Panavision 70
1396:Ultra Panavision 70
1084:Profiles in History
1041:Profiles in History
964:. Widescreen Museum
866:Profiles in History
1590:Paramount Pictures
1166:VistaVision titles
1110:2015-09-06 at the
1065:2015-09-06 at the
763:VistaVision (8/35)
490:stereophonic sound
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836:in 2024 and
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833:The Brutalist
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665:December 2009
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634:This section
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479:aspect ratios
475:
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426:Academy ratio
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392:curved screen
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214: –
213:
212:"VistaVision"
209:
208:Find sources:
202:
198:
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191:
186:This article
184:
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112: –
111:
110:"VistaVision"
107:
106:Find sources:
100:
94:
93:
89:
84:This article
82:
78:
73:
72:
67:
65:
58:
57:
52:
51:
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41:
32:
31:
19:
1540:Pan and scan
1463:Aspect ratio
1449: (1958)
1441: (1958)
1439:Kinopanorama
1433: (1952)
1414: (1970)
1390: (1955)
1371: (1982)
1363: (1960)
1355: (1957)
1339: (1954)
1336:
1331: (1953)
1313:Film formats
1281:17.5 mm
1243:film formats
1205:
1145:Cinema Retro
1143:
1137:Bibliography
1119:
1097:
1093:
1089:
1087:
1079:
1074:
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1047:
1044:
1036:
1031:
1023:
1019:
1008:. Retrieved
1004:
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966:. Retrieved
933:. Retrieved
886:
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860:and several
855:
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737:
731:
725:methods and
707:John Dykstra
696:
693:George Lucas
686:
671:
662:
647:Please help
635:
603:
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582:
570:
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558:
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474:aspect ratio
470:
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458:perforations
450:
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422:aspect ratio
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195:Please help
190:verification
187:
157:
148:
138:
131:
124:
117:
105:
85:
61:
54:
48:
47:Please help
44:
1447:Cinemiracle
1361:Techniscope
1337:VistaVision
1329:CinemaScope
1267:9.5 mm
1251:Film gauges
1160:VistaVision
774:Rangefinder
772:full-frame
727:film stocks
703:Dykstraflex
593:CinemaScope
566:Richard III
517:CinemaScope
438:Technicolor
430:soft-matted
411:CinemaScope
360:sequences.
336:CinemaScope
313:VistaVision
18:Vistavision
1579:Categories
1556:Open matte
1547:Fullscreen
1505:Widescreen
1345:Technirama
1302:70 mm
1295:35 mm
1288:28 mm
1274:16 mm
1010:2019-12-03
968:2016-09-01
945:References
935:2004-12-28
905:Technirama
893:Panavision
589:anamorphic
407:anamorphic
384:television
365:70 mm
353:films for
332:anamorphic
317:widescreen
223:newspapers
151:March 2010
121:newspapers
88:references
50:improve it
1533:Windowbox
1526:Pillarbox
1519:Letterbox
1465:standards
1423:35 mm × 3
1260:8 mm
1162:at in70mm
1098:Star Wars
1090:Star Wars
882:Star Wars
842:in 2025.
745:Inception
698:Star Wars
636:does not
350:Star Wars
327:in 1954.
56:talk page
1431:Cinerama
1369:Super 35
1108:Archived
1063:Archived
899:See also
790:aperture
524:Cinerama
442:Super 35
388:Cinerama
298:Logotype
1388:Todd-AO
1204:in the
1053:Vertigo
870:Red Sea
815:Vertigo
788:Camera
657:removed
642:sources
448:ratio.
378:History
372:OMNIMAX
237:scholar
135:scholar
1406:(1959)
1398:(1957)
1347:(1956)
846:Legacy
239:
232:
225:
218:
210:
137:
130:
123:
116:
108:
1380:70 mm
1321:35 mm
921:Notes
770:Leica
244:JSTOR
230:books
142:JSTOR
128:books
1480:14:9
1412:IMAX
1170:IMDb
887:The
880:for
876:and
640:any
638:cite
569:and
370:and
368:IMAX
216:news
114:news
1183:by
1168:at
889:RED
872:in
854:'s
651:by
446:4:3
418:3-D
199:by
90:to
1581::
1114:.)
1069:.)
1003:.
953:^
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563:,
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62:(
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