But the name still shows up in contemporary cinema. Plenty of movie-goers today will still ask what is CinemaScope, even if they can recognize the CinemaScope aspect ratio in its evolved form. Additionally, CinemaScope pushed other studios to try their own film processes, some of which are now industry standards. Panavision has become a legendary company that uses innovative technology to create anamorphic lenses and cameras that just about anyone can use. Thanks to the studio execs at Fox freaking out over the future of cinema, they created it by going "all in" on a new form of filmmaking. While the CinemaScope ratio and process fell from use by 1970, its legacy can not be understated. CinemaScope’s Legacy Looking back on CinemaScope
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While the image quality was lower than what you would get from Panavision, it proved that shooting a movie in the CinemaScope aspect ratio or otherwise was no longer out of most filmmakers’ reach. By this point, a variety of widescreen processes existed, including Techniscope and Super 35, which used regular 35mm film to create 2.35:1 images without an anamorphic lens or camera. The final films shot with CinemaScope lenses were released in the late ‘60s, with In Like Flintand Capricebeing the final two. However, it would soon independently establish itself as a major player in the widescreen market, creating innovative lenses and cameras.īy the early ‘60s, it had started to overtake CinemaScope as a go-to for anamorphic filmmaking, especially since there was no licensing involved. While not too many movies used this process, a few of them ( Oklahoma!, Around the World in Eighty Days, The Sound of Music) went on to be cinema classics.Īdditionally, there was Panavision, which at the time was established around 1954 to help make more CinemaScope lenses for Fox. While they came out around the time of CinemaScope, they were more influenced by Cinerama, which included projecting their movies on a curved screen. On the more exclusive end, there was Todd-AO, a company that specialized in 70mm widescreen filmmaking. Universal and Columbia, among others, began to adopt the 1.85:1 ratio and used it as their primary widescreen format throughout the decade. VistaVision actually rotated regular 35mm film onto its side to create higher-quality images in the 1.85:1 aspect ratio.
Paramount - who also helped jumpstart the widescreen revolution by cropping their 1953 Western Shane to be in 1.66:1 - created VistaVision. CinemaScope’s Rise and Fall CinemaScope’s final yearsĪside from “Scope” rivals, other studios experimented and created their own “flat” widescreen processes during the 1950s. These included WarnerScope, Franscope, and TohoScope. A number of competing “Scopes” came out, not just in Hollywood, but around the world. However, not every studio in Hollywood felt comfortable paying their competitors money for technology that, in theory, they could build themselves. Here’s a quick CinemaScope movies list that recaps and mentions some notable films shot and presented in the format: and Walt Disney Pictures, the latter of whom released the first animated films in the format, including Lady and the Tramp.
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Not only that, but they offered to license out the 20th Century Fox CinemaScope technology to any competitors that were willing to pay the fee. In any case, the studio wanted all of their movies to be shot and presented in CinemaScope from now on. At the time, there were no rules for what movie could be shown in the wide CinemaScope aspect ratio, as long as it took advantage of its width. The two films couldn’t be more different: one was a biblical epic, the other a romantic comedy.
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This 20th Century Fox CinemaScope picture was immediately followed by How to Marry a Millionaire, starring Marilyn Monroe. If you’re wondering what was the first film made in CinemaScope, then The Robe is your answer. Implementing CinemaScope CinemaScope takes over Hollywood
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20th Century Fox was unique for having their own R&D department, which meant they could begin making CinemaScope lenses for future productions.īy the spring of 1953, Fox had gotten the rights and was moving full speed ahead with their newly named CinemaScope process. While anamorphic lenses were nothing new, what made Chretien’s creation special was that he already had the lenses made. With Cinerama as inspiration, studio execs got in touch with Professor Chretien and asked if they could purchase the rights to his Hypergonar technology. They needed something that, while unique, could be easily implemented nationwide. 20th Century Fox was in desperate need to bring people back into movie theaters.
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