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Technirama
Technirama
is a screen process that has been used by some film production houses as an alternative to CinemaScope. It was first used in 1957 but fell into disuse in the mid-1960s. The process was invented by Technicolor
Technicolor
and is an anamorphic process with a screen ratio the same as revised CinemaScope
CinemaScope
(2.35:1) (which became the standard), but it's actually 2.25:1 on the negative. Technical[edit] The Technirama
Technirama
process used a film frame area twice as large as CinemaScope. This gave the former a sharper image with less photographic grain. Cameras used 35-mm film running horizontally with an 8-perforation frame, double the normal size, exactly the same as VistaVision. VistaVision
VistaVision
cameras were sometimes adapted. Technirama used a 1.5:1 anamorphic optic in front of the lens in order to stretch the vertical image (unlike CinemaScope
CinemaScope
camera lenses which squeezed the image horizontally). To achieve the required wider format, lenses of shorter focal-length had to be used. In the laboratory, the 8-perforation horizontal negative would be reduced optically, incorporating a 1.33:1 horizontal squeeze to create normal 4-perforation (vertically running) prints with images having an anamorphic ratio of 2:1. Just as VistaVision
VistaVision
had a few flagship engagements using 8-perf horizontal contact prints and special horizontal-running projectors, there is a bit of evidence[citation needed] that horizontal prints were envisioned for Technirama
Technirama
as well (probably with 4-track magnetic sound as in CinemaScope), but to what extent this was ever done commercially, if at all, remains unclear. The name Super Technirama 70 was used on films where the shooting was done in Technirama
Technirama
and at least some prints were made on 70-mm stock by unsqueezing the image. Such prints would be compatible with those made by such 65-mm negative processes as Todd-AO
Todd-AO
and Super Panavision. The quality would have been very good but perhaps a bit less than those processes, because the negative was not quite as large and needed to be printed optically. Technicolor
Technicolor
had roughly 12 of its Three-Strip cameras converted into VistaVision
VistaVision
cameras, using camera movements supplied by Mitchell Camera Corporation, the 1932 supplier of the original Three-Strip camera movements. After the 1956 delivery by Mitchell Camera Corporation, the converted Technicolor
Technicolor
Three-Strip cameras immediately became obsolete, and were surplus to Technicolor's operations. These converted Three-Strip VistaVision
VistaVision
cameras thereafter became the standard Technirama
Technirama
cameras, which were subsequently supplemented by a few Paramount hand-held VistaVision
VistaVision
cameras fitted with anamorphic optics. The logistical advantage of using 35mm film, end-to-end, should not be underestimated. A few 8-perf titles have been preserved on 65mm film, but most have been preserved on 35mm film or are considered[by whom?] unprintable. The color was enhanced through the use of a special development process that was used to good effect in films such as The Vikings (1958) and The Music Man (1962). However, fewer than 40 films were produced using this process in the United States. It was more popular and longer-lasting in Europe. Walt Disney Productions
Walt Disney Productions
used the process twice for full-length animated features: Sleeping Beauty (1959), and The Black Cauldron (1985). The 2008 DVD and Blu-ray Disc release of Walt Disney's Sleeping Beauty was shown at an aspect-ratio of 2.55:1 for the first time. Specifications[edit]

Film: 35 mm running horizontally using eight perforations at 24 frames per second. Film area: 1.496" (38 mm) × 0.992" (25.2 mm). Anamorphic power: 1.5 Aspect ratio: 2.35:1 (Prints) 2.25:1 (Negative)

Films[edit]

See List of Technirama
Technirama
films.

See also[edit]

List of film formats Super Technirama
Technirama
70

External links[edit]

Widescreen
Widescreen
museum Technirama
Technirama
page.

v t e

Motion picture film formats

Film gauges

8 mm 9.5 mm 16 mm 17.5 mm 28 mm 35 mm 70 mm

Film formats

35 mm

CinemaScope (1953) VistaVision (1954) Modern anamorphic (1957) Techniscope (1960) Super 35 (1982)

70 mm

Todd-AO (1955) Super Panavision 70 (1959) Technirama (1955) IMAX (1970)

35 mm × 3

Cinerama (1952) Kinopanorama (1958) Cinemiracle (1958)

Aspect ratio standards

Academy ratio 14:9 Anamorphic format

Video framing issues

Widescreen Anamorphic widescreen Letterbox Pan and scan
Pan and scan
(Fullscreen) Open matte Shoot

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