Talk:VistaVision

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[edit] Super VistaVision

June 28th, 2006

There is incomplete information in your "VistaVision" Section. There was also a 70mm Film format of Super VistaVision which was used. I know that "The Ten Commandments" was shot on 70mm Super VistaVision.

-- Sincerely,

Mr. Terry Mester Welland, Ontario CANADA tlmester@niagara.com

Terry, see this link, which refers to "Super VistaVision". Essentially, it just refers to a a VistaVision negative blown up to 70 mm for release print, and was only used for the 1989 re-release of "The Ten Commandments". Girolamo Savonarola 22:56, 28 June 2006 (UTC)

[edit] Sources, please

There has been some major changes to this article, and some of the information is incorrect. Clearly they did not read the existing article closely enough as they've repeated information already there.

I'm cutting it out of the article and pasting it here, and asking that this person please cite their sources if they want to put it back, but I would ask that they please respond here first.

Anon says:

There were two print formats, depending upon the target market: 1) maximum height prints, for which projection aspect ratios of 1.33:1/1.37:1, 1.66:1, 1.75:1, 1.85:1 and 2:1 apply; this print format is most often seen in international 35mm prints, TV 35mm prints, 16mm rental prints, and TV 16mm prints, and 2) maximum width prints, for which projection aspect ratios of 1.66:1, 1.75:1, 1.85:1 and 2:1 apply, all of these being 35mm; this print format is most often seen in domestic exhibitor prints. The early Paramount "white papers" ... not to be confused with "White Christmas" ;-) ... talked-up VistaVision as capable of providing a single, compatible 1.33/1.37:1, 1.66:1, 1.75:1, 1.85:1 and 2:1 release print. However, a careful examination of the negative, and of the release prints, would disclose that this objective was impossible to achieve, hence the existence of the two, entirely separate release print formats.

Not really correct. There were two, maybe three 8-perf machines in the US being used by exhibitors. 99 and 44/100% of the other prints were 4-perf. The point wasn't to make a large format print system. It was to make finer-grained 4-perf prints!

The Fox/Stein converted camera was called "Lazy 8" because: 1) the camera was rotated clockwise 90 degrees, hence, "lazy", and 2) the "mouse ears" raw stock magazines, when viewed from the camera operator's position appeared to be an "8", not like a pair of "mouse ears".

I'd like to know the source for this. Everywhere else I have read states it is because of the eight perforations on the film "lying down."

Perspecta was rarely used by Paramount. Perspecta was a develpment of Fine Labs, an associate of Loew's Incorporated, the corporate owner of M-G-M, which used Perspecta on its "flat wide screen" and its CinemaScope productions alike.

Again, what's the source for this? I've run about a dozen VistaVision films in 35mm, and every one of them has had Perspecta encoding on the track. The stereo effect is seldom utilized within the film, but the Perspecta tones are always there.

Please cite your sources when posting new information. That way, this article can be more encyclopedic! Thanks in advance. -The Photoplayer 18:33, 24 July 2007 (UTC)

Why does lazy eight redirect here? Abyaly 14:26, 1 December 2007 (UTC)