Home Movies (1953)

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New York Institute of Photography Dept. 1 14, 10 W. 33 St., New York 1, N.Y. 8 MM f*"^ Enlarqed to 16. l6MMfed«*dto8. c Catalog on Request. wm MiflSIH"... new wide screen system By HENRY PROVISOS ■ Li [ i Robert Gottschalk, one of the principals involved in I'anavision. checks a new lens on an optical bench. Perfected by a young California businessman Panavision looks like a promising new process available now to 16mm producers. Bell & Howell has their own process which teas developed with 20th Century-Fox collaboration, and of course there are a few others in various tsages of development. Let's take a good look at Panavision. A FEW weeks ago "Reel Fellows", a group of Hollywood cameramen, technicians and others interested in commercial and educational motion pictures saw a demonstration of Panavision — a new wide-screen process recently perfected. When 20th Century-Fox demonstrated Cinemascope, we saw their films and thought that this was the answer to 3-D. We still think so. and further, we feel that the wide-screen process will gain momentum as time goes on and finally evolve into something as common as the regular square screen. What is the difference between Cinemascope and Panavision? Essentiallv. Panavision is an anamorpholic lens process similar and interchangeable with Cinemascope, but differing in optical design. The Panavision lens has the same power as the Cinemascope lens — in other words, the compression ratio is identical. In fact, films shot with the Panavision lens can be projected perfectly through the Cinemascope lens, and vice versa. The lens is said to be free from distortion and fuzziness, and is highly color corrected, which eliminates fringing and gives extreme definition. This seems to be so. We watched the image and noted that extreme sharpness prevailed to the extreme edges. There was less bending of the horizon than w as experienced w ith Cinemascope and excellent depth of field. Straight edges were straight with no barrelling or distortion: lines remained square. Although the test image was flashed on a screen 4.5 feet x 11.5 feet, it seems fairly certain that larger throws will not deteriorate the image. Robert Gottschalk, one of the developers of the process declared: "It will blow up from 16mm to 35mm. in the same way as the conventional blow-ups — it might even be a little better". He said that Panavision does not require an increase in exposure and that it could be projected on a flat screen, so long as the throw was no longer than 20 feet. A curved screen is necessary however for longer throws. Right now the William I. Mann Co. of Morovia, California is tooling up for production of Panavision. and Gottschalk said that Panavision anamorphotic lenses will be available for 35 mm motion picture taking lenses: tion lenses: 16mm taking and projection lenses: 8mm taking and projection lenses, and there will also be a Panavision lens for still photography. These will serve any 35mm doubleframe camera such as the Leica. Contax, and Argus, and project it over a wide screen. I The illustration on the cover was taken with a Panavision lens, used on a 35mm camera.) While prices have not yet been announced, the developers of the optics say that lenses will be reasonable in price, considering the high precision necessary in this type of optic. The qualitv of the image, said Gottschalk. will not be impaired by the use of the anamorphotic lens. Asked about the availability, he said that lenses are already being manufactured and quantity production will be achieved within 30 days. Lenses for still cameras, however, will not be available until much later. The inventors say that any 16mm objective can be used as an objective lens behind the Panavision lens. Focal length can be anything from 25mm to 6" focal length. The resulting picture 510