Business Screen Magazine (1963-1964)

to the MOON in Ciiieraina exploration ni (Mit<'r •-luire on an 80-fool Spacenrinm Jniiie R OCKETINC Viewers into outer pace, past the moon and into the far gahi.xies. the Cinerama film To the Moon and Beyond projects exploration of space against the 80-foot Jome of a Spacearium on top ol the Transportation and Travel Pavilion at the Fair. Presently sponsored by the KLM Royal Dutch Airlines, the film is shown to paid admissions. It was produced by Graphic Films Corporation for Cinerama, Inc. KLM-Rotiul Dutch Airlines is stwnsor of lliis ('incriinui joiirncij into outer simcc showing in doine theater. and Rod Serling narrates the film The audience is taken within the action which generally occurs in darkness to free the viewer from conventional ideas of size and time. Speeding up the events known to astronomers, the picture shows (through animation) how clouds of gas whirl \nlo great galaxies, expanding outward from one another, with old generations of stars exploding to distribute the gaseous components of subsequent stellar generations, visible in our time. Returning to earth, the film takes us to a great rocky canyon to illustrate the shape of matter on the stars ... to the middle Left: a mocing staincaij takes viewers up to the dome theater for Cinerama "M o o n" journcii. Scene from Graphic Fihns' production which expk)res the vast events aid beyond outer space. of a great forest and to the bottom of the sea. In one sequence the audience finds itself at the bottom of an anthole. watchin£r the insects crawling in and out above. But the intricate workings of molecular and atomic space are the film's true goal. From a broad view of the cosmos, attention shifts to the familiar building processes that we call the chemistry of the planets: the relation of liquid water to the diverse manifestations of life. The incredible complexity of living forms is revealed. .As a stirring conclusion, the pulsing image of a single living cell is invaded by the camera, accompanied by loud "booms" of sound on the track. To the Moon was lensed by Graphic Films in double-frame 65mm. Final magnification to the 600X screen dimension required utmost care in the production of convincing special effects material. In this, it has succeeded. • A LOOK INTO -PATTERNS IN SPOR I S' SUif-fl'iffrs. hoxt-rs oin/ huWbuvlis in nclioii on a virvular svrm'ii <t( Ihc holHnit ttf a ircll A Canopied Kiosk in the Gen■'■■ eral Cigar Hall of Magic at the Fair houses a unique sports picture, which was shci as it is viewed, looking into action from above as from a helicopter. Visitors gaze down the sloping pit walls (bell-shaped) as an overhead 1 (iiiuii sound projector puts exciting action sequences onto the six-foot circular screen. A most exciting sequence shows the freefall, sky-diving parachutists as they hurtle towards the earth. Within the brief three-minutes, there's also indoor action of bil liards, boxing and golf and a •'worm's eye" view as the camera looks upward at a boxer skipping rope. Patterns in Sport is co-sponsored by Sports Illistr.-\ti;d. It was created from an idea developed by Gordon Auchincloss and George Marck. Filming was by Gerald Productions. Inc., designed by George Canata and under the direction of Jerry Auerbach. Technical equipment was designed and built by Reevesound. under the supervision of William Szabo. Another good Fair idea! • -\t right: you're watching the "big game" from a hovering helicopter as you look down this picture well to see the "round" movie produced for the General Cigar exhibit area by editors of Sports Illustrated. ****t/i N. Y. WORLD'S FAIR REPORT \