Technirama

This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages) This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. Find sources: "Technirama" – news · newspapers · books · scholar · JSTOR (March 2023) This article uses bare URLs, which are uninformative and vulnerable to link rot. Please consider converting them to full citations to ensure the article remains verifiable and maintains a consistent citation style. Several templates and tools are available to assist in formatting, such as reFill (documentation) and Citation bot (documentation). (August 2022) (Learn how and when to remove this message) This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Technirama" – news · newspapers · books · scholar · JSTOR (September 2020) (Learn how and when to remove this message) (Learn how and when to remove this message)

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 and is an anamorphic process with a screen ratio the same as revised CinemaScope (2.35:1) (which became the standard), but it is actually 2.25:1 on the negative.^[1]

Technical

The Technirama process used a film frame area twice as large as CinemaScope. This gave the former a sharper image with less

which squeezed the image in a 2:1 ratio). 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 squeeze ratio of 2:1.

Just as 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 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

. 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 had roughly 12 of its

, the 1932 supplier of the original three-strip camera movements. After the 1956 delivery to Paramount Pictures Corporation by Mitchell Camera Corporation of the newly designed and constructed Mitchell VistaVision cameras, the converted Technicolor three-strip cameras immediately became obsolete, and were surplus to Technicolor's operations. These converted three-strip VistaVision cameras thereafter became the standard Technirama cameras, which were subsequently supplemented by a few Paramount hand-held 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

(1985). The 2008 DVD and Blu-ray Disc release of Sleeping Beauty was shown at an aspect-ratio of 2.55:1 for the first time.

Specifications

• 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

Further information: List of Technirama films

See also

• List of film formats
• Super Technirama 70

References

1. ^ https://www.widescreen.org/aspect_ratios.shtml

External links

• Widescreen museum Technirama page.
• The Technirama Process - Technicolor 100 on
  YouTube — Explanation of the format by the George Eastman Museum