Super Panavision 70
Super Panavision was a 1959 movie recording process introduced for 70mm wide screen movies.
Background
Super Panavision was largely identical to Todd - AO. With a spherical lens the picture was taken on a 65mm film negative. The frame rate was 24 frames per second. From the negative a 70mm film print was created using six Magnettonstreifen and a 35mm film print. The aspect ratio was 2,21:1 when 70mm film and the 2.35:1 35mm film. In addition to the impressive image width at 70mm roadshow screenings reducing waiting on 35mm film with a high image quality.
Super Panavision was introduced by Panavision as a direct competitor to Todd - AO. Panavision had already had some experience in the production of camera lenses. With an anamorphic lens 's 35mm Cinemascope admission procedure by 20th Century Fox was practically superseded and for MGM was with the camera 65, a separate anamorphic 70mm film developed. Since 20th Century Fox claimed the Todd - AO format exclusively for itself, Panavision wanted to rent from the beginning of his own spherical method to other film studios. United Artists, Columbia, Warner Bros. and MGM Super Panavision translated a number of times. Some productions in Super Panavision were advertised as Cinerama.
Since 1963, films that were shot on 35mm Panavision anamorphic or 35mm Cinemascope were propagated enlarged to 70mm film format. Although the 35mm film copy of Super Panavision still provided a far better picture quality than a Blow Up, but the 65mm negative film inflating the cost of production compared to a normal 35mm film negative massively. Super Panavision with his cumbersome cameras was limited to large-scale productions. For cost reasons, gold fell back on the 35mm Panavision already in Mackenna's. The last fully filmed in Super Panavision films were Hamlet by Kenneth Branagh in 1996, and The Master by Paul Thomas Anderson, 2012.