Harrison's Reports (1954)

40 HARRISON’S REPORTS March 6, 1954 At the conclusion of his statement introducing Vistavision, Mr. Balaban stated that “Paramount has no financial interest, directly or indirectly, in the collection of royalties or in any manufacturing profits that may come from any of the products that may be used by this system.” One does not have to be a “big brain” to understand that this statement is an obvious dig at 20th Century-Fox's handling of CinemaScope, while at the same time making it appear as if Paramount is magnanimous in making Vistavision available to the industry. Aside from the fact that Mr. Balaban’s statement is in bad taste, his efforts to make Paramount appear unselfish would be meaningful if he could show that his company, like 20th'Fox, risked its future and many millions of dollars to develop a new and exciting form of motion picture entertainment. Balaban has not cited the cost borne by his company in developing Vista vision, which after all is no more than a technical photographic development that will have little if any effect in increasing the public's interest in movies, such as in the case of CinemaScope, but this writer is confident that if Paramount's cost figures were made available they would be infinitesimal as compared with the many millions of dollars risked by 20th-Fox to not only develop CinemaScope but to also finance the mass production of lenses and screens as well as an adequate supply of CinemaScope productions. As a top business executive, Barney Balaban knows that it is no more than fair that 20th Century-Fox should seek to recoup the heavy investments it has made in the equipment field in behalf of exhibition, and for that reason alone his remarks are reprehensible. Moreover, Balaban's remarks come with bad grace in view of the fact that his company is now turning to an anamorphic process which, though not CinemaScope, was inspired by 20th-Fox's successful development of such a process and which will probably result in healthy profits to Paramount without any of the risks and heartaches that went into the development of the process. It should be noted also that the magnanimity Paramount seeks to display in connection with its development of Vistavision is sorely lacking when it comes to another development in which it has a controlling interest to the tune of about one and one-half million dollars. We refer to Telemeter, the coin-in-the-slot home TV subscription system which, if eventually successful, can be so injurious to the theatres. In trying to boost the importance of Vistavision, there was neither necessity nor propriety in Balaban's stooping to innuendo to disparage a competitor; its certainly does him no honor. SUPERSCOPE Even more important than Vistavision, insofar as new processes are concerned, is the announcement this week by Joseph and Irving Tushinsky that SuperScope, the trade name for their new variable anamorphic system, will be shown publicly at a demonstration in New York City on March 22. The demonstration will be held at the RKO 86th Street Theatres under the sponsorship of RKO Theatres, Theatre Owners of America and Allied States Association of Motion Picture Exhibitors. Walter Reade, Jr. and Wilbur Snaper, representing TO A and Allied, viewed the process in Hollywood last weekend. SuperScope has been in the course of development at the RKO Studios for the past year and, according to the announcement, has now reached a state of perfection. RKO Radio Pictures, through its cooperation, is the first licensee. The process is described by the Tushinskys as an anamorphic system that differs from any other in that the anamorphic positive prints used in the process are achieved from normal straight photography. The system is variable in aspect ratio so that anamorphic prints will be available in aspect ratios of 1 to 2, 1 to 1.75 and, in special instances, at 1 to 2.66. It is claimed that these variable aspects, together with the normal print of the picture, will make it possible for a picture to be presented in a new modern form in every theatre in the world. According to the announcement, the variable positive prints used in SuperScope are made possible by special optical devices of the Tushinsky's on which patent applications have been filed. These optical devices, it is said, arc compatible with the printing processes of Technicolor and the introduction of the system to the industry will be with Technicolor prints. Variable anamorphic aspect prints can be made also from negatives photographed by the new Paramount Vistavision camera as well as by the Technicolor 3 -strip camera and other conventional cameras. The Tushinsky's state that SuperScope requires .no functional changes in projection equipment on the part of the exhibitor. The present standard academy aperture as well as the present focal length projection lens are retained, and the height of the exhibitor's screen remains the same normal height previously used. The only additions required to present equipment are the SuperScope variable anamorphic lenses, which are attached to any projector, and the widening of the screen. It is claimed that, since retention of the standard academy aperture results in the exhibitor's complete light being utilized, SuperScope will answer the principal problem of drive-in theatres, where “cropping” has been unsuccessful due to loss of light. Such loss of light by “cropping” has also presented problems and inferior projection in the conventional theatre. The SuperScope lenses are now in production and will be available in quantity within 60 days, according to the Tushinskys. They added that an announcement will be made shortly regarding the distribution of these lenses and that at the present time only details remain in a deal with National Screen Service covering both the sale and renting of the lenses to theatres. The presently contemplated sale price of the lenses is $350 each. It is known that several of the recently completed RKO pictures have been photographed to the specifications required by SuperScope and it is expected that one of them will be generally offered and distributed in SuperScope. In addition to RKO, Paramount has announced that it will supply anamorphic prints in variable aspect ratios to those exhibitors using the SuperScope projection lens. The Tushinskys are also negotiating with other studios, as well as independent producers, including Wayne-Fellows, Hecht-. Lancaster Productions, the Disney Studios and Samuel Goldwyn Productions. Joseph Tushinsky stated that the SuperScope process will be made available to the entire industry, including the converting of present anamorphic pictures from their present 2.66 to 1 aspect ratio to lower conventional aspects, such as 1 to 2 and 1 to 1.75. In the course of developing SuperScope, several of the studios have cooperated, including Paramount, Metro-Goldwyn -Mayer, Warner Brothers and Columbia, and from time to time have participated in its testing. In addition to new productions planned for the SuperScope process, it is claimed that negotiations are now active in conneaion with several important productions that are already completed and are susceptible to conversion to SuperScope. It is understood that after the New York trade showing, additional demonstrations will be held in other important cities in the United States and Europe. Harrison’s Reports cannot, of course, comment on the merits of this new system until after it is demonstrated on March 22. It does, however, appear to be a significant development, not oiJy because of the claims made for it, but also because the demonstration is being co-sponsored by the two national exhibitor associations.