CinemaScope 55
Encyclopedia
CinemaScope 55 was a large-format version of CinemaScope
introduced by Twentieth Century Fox
in 1955, which used a film width of 55.625 mm .
Fox had introduced the original 35mm version of CinemaScope
in 1953 and it had proved to be commercially successful. However the additional image enlargement needed to fill the new wider screens that had been installed in theatres for CinemaScope resulted in visible film grain. The obvious solution was to use a larger film so that less enlargement would be needed. CinemaScope 55 was the result of this thinking, and was one of three "High Definition" film systems introduced in the mid '50s, the other two being Paramount
's VistaVision
and the Todd-AO 70 mm film
system.
Fox determined that a system that produced a frame area approximately 4 times that of the 35mm CinemaScope frame would be the optimum trade-off between performance and cost, and the 55.625mm film width was chosen because it provided that. Camera negative film had a larger grain than the film stocks used for prints so there was some logic in using a larger frame on the negative than on prints. Since prints need to allow space for soundtracks whilst camera negative doesn't CinemaScope 55 had different frame dimensions for camera negative and print film.
The Negative film had the perforations (of the CS "Fox-hole" type) close to the edge of the film and the camera aperture was 1.824" by 1.430" (approx 46mm x 36mm) giving an image area of 2.61 sq inch. This compares to the 0.866" by 0.732" (approx 22mm x 18.6mm) frame of a modern anamorphic 35mm negative, which provides a frame area of just 0.64 sq inch. On the print film, however, there was a smaller frame size of approximately 1.34" x 1.06" (34mm x 27mm) to allow space for the 6 magnetic soundtracks. Four of these soundtracks (two each side) were outside of the perforations, which were further from the edges of the film than in the negative film; the other two soundtracks were between the perforations and the image. The pull-down for the negative was 8 perforations, whilst for the smaller frame on the print film it was 6 perforations. In both cases however the frame had an aspect ratio of 1.275:1, which when expanded by a 2:1 anamorphic lens resulted in an image of 2.55:1.
A pre-war camera originally built for the obsolete Fox "Grandeur" 70mm
format was modified to work with the new 55mm film and Bausch & Lomb
, the firm that created the original anamorphic CinemaScope lenses, was contracted by Fox to build new lenses which could cover the larger film size.
Fox shot two of their Rodgers and Hammerstein
musical series in CinemaScope 55, Carousel
, and The King and I
. However no 55mm release prints were made for either film, both being released in conventional 35mm CinemaScope with a limited release of "The King and I" also being made in the 70mm Todd-AO format.
The process was soon discontinued as it was too impractical for theaters to re-equip for 55 mm prints, and Fox substituted Todd-AO for its wide-gauge production process, having acquired a financial interest in the process from the Michael Todd Estate.
Notwithstanding the apparent absence of commercial 55 mm prints, 55 mm prints were, in fact, made, although not for commercial distribution. Samples of these prints reside in the Earl I. Sponable Collection at Columbia University.
Several projectors and at least one reproducer are in the hands of collectors.
Cinemascope 55 was originally intended to have a six-track stereo soundtrack, and the premiere engagement of Carousel in New York did use one, recorded on magnetic film interlocked with the visual image as with Cinerama
. However, this proved too impractical, and all other engagements of Carousel had the standard four-track stereo soundtrack (printed on the actual film) then used in all Cinemascope releases.
In 2005 both CinemaScope 55 films were restored from the original 55mm negatives.
CinemaScope
CinemaScope was an anamorphic lens series used for shooting wide screen movies from 1953 to 1967. Its creation in 1953, by the president of 20th Century-Fox, marked the beginning of the modern anamorphic format in both principal photography and movie projection.The anamorphic lenses theoretically...
introduced by Twentieth Century Fox
20th Century Fox
Twentieth Century Fox Film Corporation — also known as 20th Century Fox, or simply 20th or Fox — is one of the six major American film studios...
in 1955, which used a film width of 55.625 mm .
Fox had introduced the original 35mm version of CinemaScope
CinemaScope
CinemaScope was an anamorphic lens series used for shooting wide screen movies from 1953 to 1967. Its creation in 1953, by the president of 20th Century-Fox, marked the beginning of the modern anamorphic format in both principal photography and movie projection.The anamorphic lenses theoretically...
in 1953 and it had proved to be commercially successful. However the additional image enlargement needed to fill the new wider screens that had been installed in theatres for CinemaScope resulted in visible film grain. The obvious solution was to use a larger film so that less enlargement would be needed. CinemaScope 55 was the result of this thinking, and was one of three "High Definition" film systems introduced in the mid '50s, the other two being Paramount
Paramount Pictures
Paramount Pictures Corporation is an American film production and distribution company, located at 5555 Melrose Avenue in Hollywood. Founded in 1912 and currently owned by media conglomerate Viacom, it is America's oldest existing film studio; it is also the last major film studio still...
's VistaVision
VistaVision
VistaVision is a higher resolution, widescreen variant of the 35mm motion picture film format which was created by engineers at Paramount Pictures in 1954....
and the Todd-AO 70 mm film
70 mm film
70mm film is a wide high-resolution film gauge, with higher resolution than standard 35mm motion picture film format. As used in camera, the film is wide. For projection, the original 65mm film is printed on film. The additional 5mm are for magnetic strips holding four of the six tracks of sound...
system.
Fox determined that a system that produced a frame area approximately 4 times that of the 35mm CinemaScope frame would be the optimum trade-off between performance and cost, and the 55.625mm film width was chosen because it provided that. Camera negative film had a larger grain than the film stocks used for prints so there was some logic in using a larger frame on the negative than on prints. Since prints need to allow space for soundtracks whilst camera negative doesn't CinemaScope 55 had different frame dimensions for camera negative and print film.
The Negative film had the perforations (of the CS "Fox-hole" type) close to the edge of the film and the camera aperture was 1.824" by 1.430" (approx 46mm x 36mm) giving an image area of 2.61 sq inch. This compares to the 0.866" by 0.732" (approx 22mm x 18.6mm) frame of a modern anamorphic 35mm negative, which provides a frame area of just 0.64 sq inch. On the print film, however, there was a smaller frame size of approximately 1.34" x 1.06" (34mm x 27mm) to allow space for the 6 magnetic soundtracks. Four of these soundtracks (two each side) were outside of the perforations, which were further from the edges of the film than in the negative film; the other two soundtracks were between the perforations and the image. The pull-down for the negative was 8 perforations, whilst for the smaller frame on the print film it was 6 perforations. In both cases however the frame had an aspect ratio of 1.275:1, which when expanded by a 2:1 anamorphic lens resulted in an image of 2.55:1.
A pre-war camera originally built for the obsolete Fox "Grandeur" 70mm
70 mm film
70mm film is a wide high-resolution film gauge, with higher resolution than standard 35mm motion picture film format. As used in camera, the film is wide. For projection, the original 65mm film is printed on film. The additional 5mm are for magnetic strips holding four of the six tracks of sound...
format was modified to work with the new 55mm film and Bausch & Lomb
Bausch & Lomb
Bausch & Lomb, an American company based in Rochester, New York, is one of the world's leading suppliers of eye health products, such as contact lenses and lens care products today. In addition to this main activity, in recent years the area of medical technology has been developed...
, the firm that created the original anamorphic CinemaScope lenses, was contracted by Fox to build new lenses which could cover the larger film size.
Fox shot two of their Rodgers and Hammerstein
Rodgers and Hammerstein
Richard Rodgers and Oscar Hammerstein II were a well-known American songwriting duo, usually referred to as Rodgers and Hammerstein. They created a string of popular Broadway musicals in the 1940s and 1950s during what is considered the golden age of the medium...
musical series in CinemaScope 55, Carousel
Carousel (film)
Carousel is a 1956 film adaptation of the 1945 Rodgers and Hammerstein musical of the same name which, in turn, was based on Ferenc Molnár's non-musical play Liliom. The 1956 Carousel film stars Gordon MacRae and Shirley Jones, and was directed by Henry King...
, and The King and I
The King and I (1956 film)
The King and I is a 1956 musical film made by 20th Century Fox, directed by Walter Lang and produced by Charles Brackett and Darryl F. Zanuck. The screenplay by Ernest Lehman is based on the Richard Rodgers and Oscar Hammerstein II musical The King and I, based in turn on the book Anna and the King...
. However no 55mm release prints were made for either film, both being released in conventional 35mm CinemaScope with a limited release of "The King and I" also being made in the 70mm Todd-AO format.
The process was soon discontinued as it was too impractical for theaters to re-equip for 55 mm prints, and Fox substituted Todd-AO for its wide-gauge production process, having acquired a financial interest in the process from the Michael Todd Estate.
Notwithstanding the apparent absence of commercial 55 mm prints, 55 mm prints were, in fact, made, although not for commercial distribution. Samples of these prints reside in the Earl I. Sponable Collection at Columbia University.
Several projectors and at least one reproducer are in the hands of collectors.
Cinemascope 55 was originally intended to have a six-track stereo soundtrack, and the premiere engagement of Carousel in New York did use one, recorded on magnetic film interlocked with the visual image as with Cinerama
Cinerama
Cinerama is the trademarked name for a widescreen process which works by simultaneously projecting images from three synchronized 35 mm projectors onto a huge, deeply-curved screen, subtending 146° of arc. It is also the trademarked name for the corporation which was formed to market it...
. However, this proved too impractical, and all other engagements of Carousel had the standard four-track stereo soundtrack (printed on the actual film) then used in all Cinemascope releases.
In 2005 both CinemaScope 55 films were restored from the original 55mm negatives.
Source Links
- American Widescreen MuseumAmerican Widescreen MuseumThe American Widescreen Museum is a virtual museum devoted to motion picture history, especially widescreen processes, early color cinematography, and the technical development of sound film. It has been online since 1997....
(Cinemascope section) - http://www.theasc.com/magazine/june05/postfocus/index.html AFC article about the restoration of "Carousel" and "The King and I"