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#RICHARD DUCAR TV#
Seen with the camera, from left to right, are early Panavision partner Richard Moore ASC, later to become a highly respected director of photography, Robert Gottschalk, founder, and Meredith Nicholsen, who worked as a second unit camera operator on Ben-Hur and later became a very successful director of photography on many TV series. There is no scene in Ben-Hur that would be seriously compromised by this width reduction.Ĭirca 1957 photo of the first 65mm Panavision camera used on Raintree County, Ben-Hur, (with anamorphic lenses), and The Big Fisherman, (with spherical lenses). There is evidence that "Ben-Hur" played in 70mm in its premiere engagement in certain theatres with prints optically created to conform to the Todd-AO 2.21:1 ratio. So despite the total 2.76:1 aspect ratio, critical information was kept within an area of 2.35 to 2.5:1. Initial 35mm anamorphic prints were matted to yield a 2.5:1 aspect ratio with Magoptical soundtracks.
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#RICHARD DUCAR INSTALL#
While it was possible to use the entire 2.76:1 image on the theatre screen, as a matter of practice the ratio was kept at about 2.5:1 so that theatres weren't required to install new wider screens or curtail the height of those already installed. The second film, Ben-Hur, ran in 70mm roadshow for over a year. The first film in the process, Raintree County, was printed only in CinemaScope compatible 35mm with either optical sound or Magoptical sound, with a maximum aspect ratio of 2.35:1. Since flexibility in producing prints in a variety of formats was a key factor in the design of MGM Camera 65/Ultra Panavision, the exceptionally wide 2.76:1 aspect ratio was more a matter of insurance than a specification for projection. It should be noted that ultra high quality 35mm anamorphic reduction prints wereĬonsidered a primary goal of the system and use of the 65mm cameras with spherical lenses wasĬonsidered an option from the very beginning. It was also what was painted on the front of an early sound blimp that was used before the beautiful aluminum blimp designed by Takuo 'Tak' Miyagishima of Panavision had completed construction. A number of publications discussing this system referred to it as MGM Panavision, which was the way it was internally identified by Douglas Shearer of MGM in early documents. To date, though it was intended that both 70mm and 35mm prints use an aspect ratio of 2.5:1 (MGM shorthand for 2.55:1). Total aspect ratio of 2.76:1, the most extreme of all the various widescreen systems developed (Metro's name for the format, Robert Gottschalk called the system Ultra Panavision from its inception) usedĪ 1.25:1 anamorphic compression with a frame size identical to Todd-AO, yielding an image with a In fact the system was designed for a squeeze of 1.25:1 but the markings were incorrect due to a math error on the part of some unknown person. All theĬamera 65 lenses are still in existence today and are indeed marked 1.33 anamorphosis. Most information for that period documents the compression as being 1.33:1.
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Testing during development changed the anamorphic compression factor from about 1.4:1 to 1.33:1 The second difference was that the lenses were anamorphic rather than spherical. The filming speed was maintained at the standard 24fps rate, (Todd-AO would switch to this speed The system was conceived as being quite similar to Todd-AO but with two differences. Information sources that incorrectly document what came to be called M-G-M Camera 65. For this reason there are countless otherwise reliable Metro-Goldwyn-Mayer made a lot of noise about their new Widescreen Museum - The Ultra Panavision Wing 2