CinemaScope is an anamorphic lens series used, from 1953 to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theatres using existing equipment, albeit with a lens adapter.
86-401: The Broken Land is a 1962 CinemaScope DeLuxe Western film directed by John A. Bushelman, and starring Kent Taylor , Diana Darrin and Jack Nicholson . The film is about a cowboy who rides into a small town that is ruled with an iron fist by a corrupt sheriff. He becomes involved with a pretty young town girl and some residents who are trying to oust the sheriff, resulting in a robbery,
172-513: A joint venture with Saegmuller. At the same time as this new expansion, a research department with five members was started to develop new products and improve old ones. A new alliance with the Zeiss company in Germany ensured competitive advantages for the three participants, Bausch & Lomb, Saegmuller and Zeiss, in terms of patent use and opening new markets. In 1902, William Bausch, the son of
258-491: A Time in a Western , Mark Franklin wrote: Some folks will likely want to watch this because of Nicholson's involvement. It actually marked his sixth appearance on the big screen. He'd fair better in the twin 1966 Westerns The Shooting and Ride in the Whirlwind . As the female lead, this was an unusually large role for Diana Darrin, who normally wound up in supporting parts. And, yep, that’s Joel McCrea ’s son, Jody, as
344-406: A combination of both characteristics. CinemaScope was developed to use a separate film for sound (see Audio below), thus enabling the full silent 1.33:1 aperture to be available for the picture, with a 2:1 anamorphic squeeze applied that would allow an aspect ratio of 2.66:1. When, however, developers found that magnetic stripes could be added to the film to produce a composite picture/sound print,
430-463: A different camera system (such as Mitchell BNCs at TCF-TV studios for RegalScope rather than Fox Studio Cameras at Fox Hills studios for CinemaScope). Fox officials were keen that the sound of their new widescreen film format should be as impressive as the picture, and that meant it should include true stereophonic sound . Previously, stereo sound in the commercial cinema had always employed separate sound films; Walt Disney's 1940 release Fantasia ,
516-728: A financial interest in the process from the Mike Todd estate. Subsequent to the abandonment of CinemaScope 55, Century, which had made the 55/35mm dual-gauge projector for Fox (50 sets were delivered), redesigned this projector head into the present day 70/35mm Model JJ, and Ampex, which had made the 55/35mm dual gauge penthouse magnetic sound reproducer head specifically for CinemaScope 55, abandoned this product (but six-channel Ampex theater systems persisted, these being re-purposed from 55/35mm to 70mm Todd-AO/35mm CinemaScope). Although commercial 55 mm prints were not made, some 55 mm prints were produced. Samples of these prints reside in
602-465: A fully exposed 1.37:1 Academy ratio -area is cropped in the projector to a wide-screen aspect ratio by the use of an aperture plate, also known as a soft matte . Most films shot today use this technique, cropping the top and bottom of a 1.37:1 image to produce one at a ratio of 1.85:1. Aware of Fox's upcoming CinemaScope productions, Paramount introduced this technique in March's release of Shane with
688-437: A half-width optical soundtrack, while keeping the magnetic tracks for those theaters that were able to present their films with stereophonic sound. These so-called "mag-optical" prints provided a somewhat sub-standard optical sound and were also expensive to produce. It made little economic sense to supply those theaters which had only mono sound systems with an expensive striped print. Eventually Fox, and others, elected to supply
774-425: A method of coating 35 mm stock with magnetic stripes and designed a three-channel (left, center, right) system based on three 0.063-inch-wide (1.6 mm) stripes, one on each edge of the film outside the perforations, and one between the picture and the perforations in approximately the position of a standard optical soundtrack. Later it was found possible to add a narrower 0.029 in (0.74 mm) stripe between
860-468: A murder and his being pursued by a vengeful posse . The film was filmed in Apache Junction, Arizona during the summer of 1961. It was financed by Robert L. Lippert 's Associated Producers. It gave an early role to Jack Nicholson . Nicholson later appeared in and wrote a number of films for Lippert, including Thunder Island . Reviewing the film in 2015 for the cinephile website Once Upon
946-476: A narrow format. It then widens to widescreen and dissolves to the old-fashioned CinemaScope logo, in color. In the 1963 Jean-Luc Godard film Contempt ( Le Mepris ), filmmaker Fritz Lang makes a disparaging comment about CinemaScope: "Oh, it wasn't meant for human beings. Just for snakes – and funerals." Ironically, Contempt was shot in Franscope , a process with a similar format to CinemaScope. During
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#17328012271551032-500: A problem that was soon referred to as "the mumps ". This problem was avoided at first by composing wider shots, but as anamorphic technology lost its novelty, directors and cinematographers sought compositional freedom from these limitations. Issues with the lenses also made it difficult to photograph animation using the CinemaScope process. Nevertheless, many animated short films and a few features were filmed in CinemaScope during
1118-475: A result of a series of company acquisitions, the division for the manufacture of surgical products was established. The Ray-Ban brand was sold in 1999 to the Italian Luxottica Group. Since then, Bausch & Lomb has developed into a globally operating company which is one of the largest producers of contact lenses. As of 2022, about 12,900 employees in approximately 100 countries work for
1204-416: A significant amount of the principal photography was actually filmed using CinemaScope lenses. Fox eventually capitulated completely to third-party lenses. In Like Flint with James Coburn and Caprice with Doris Day , were Fox's final films in CinemaScope. Fox originally intended CinemaScope films to use magnetic stereo sound only, and although in certain areas, such as Los Angeles and New York City,
1290-408: A smaller frame size of approximately 1.34" x 1.06" (34 mm x 27 mm) to allow space for the 6 magnetic soundtracks. Four of these soundtracks (two each side) were outside the perforations, which were further from the edges of the print 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, while for
1376-433: A television screen. In the 1988 version, a comment was said in dialogue by one of the current "coolest kids in town" during Tracy's audition. In the remake of 2007, also during Tracy's audition, it was a lyric sung by Amber von Tussle, singing, "This show isn't broadcast in CinemaScope!" in the song "(The Legend of) Miss Baltimore Crabs". Bausch %26 Lomb Bausch & Lomb (since 2010 stylized as Bausch + Lomb )
1462-586: Is a variation of this process. Another process called Techniscope was developed by Technicolor Inc. in the early 1960s, using normal 35 mm cameras modified for two perforations per (half) frame instead of the regular four and later converted into an anamorphic print. Techniscope was mostly used in Europe , especially with low-budget films. Many European countries and studios used the standard anamorphic process for their wide-screen films, identical in technical specifications to CinemaScope, and renamed to avoid
1548-534: Is an American-Canadian eye health products company based in Vaughan, Ontario , Canada. It is one of the world's largest suppliers of contact lenses , lens care products, pharmaceuticals, intraocular lenses , and other eye surgery products. The company was founded in Rochester, New York , in 1853 by optician John Bausch and cabinet maker turned financial backer Henry Lomb . Until its sale in 2013, Bausch + Lomb
1634-401: Is simply a hard-matted version of the others. Fox selected The Robe as the first film to start production in CinemaScope, a project chosen because of its epic nature. During its production, How to Marry a Millionaire and Beneath the 12-Mile Reef also went into CinemaScope production. Millionaire finished production first, before The Robe , but because of its importance, The Robe
1720-483: Is still so embedded in mass consciousness that all anamorphic prints are now referred to generically as 'Scope prints. Similarly, the 2016 release La La Land was shot on film (not digitally) with Panavision equipment in a 2.55:1 widescreen format, but not true CinemaScope. However, the film's opening credits do say "Presented in CinemaScope" ("presented", not "shot") as a tribute to 1950s musicals in that format. This credit appears initially in black-and-white and in
1806-404: The 65/70 mm format. The initial problems with grain and brightness were eventually reduced thanks to improvements in film stock and lenses. The CinemaScope lenses were optically flawed, however, by the fixed anamorphic element, which caused the anamorphic effect to gradually drop off as objects approached the lens. The effect was that close-ups would slightly overstretch an actor's face,
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#17328012271551892-865: The American Civil War , the Union blockade caused the price of gold and European horn to rise dramatically. This resulted in a growing demand for the Bausch + Lomb spectacles made from vulcanite . In 1876, Ernst Gundlach joined the company as it began to manufacture microscopes . Later that year, the Bausch & Lomb Optical Company won a distinction at the Philadelphia Centennial Exposition . The company also produced photographic lenses (1883), spectacle lenses (1889), microtomes (1890), binoculars and telescopes (1893). From 1892 in cooperation with Zeiss in Germany,
1978-651: The Corporate Equality Index released by the Human Rights Campaign starting in 2003, the second year of the report. In 1994, several states in the US, including Texas , opened an investigation against Bausch & Lomb. This investigation was based on the sale of duplicate contact lenses under different names and prices. Three different versions of the same contact lens were being sold under OptimaFW, Medalist lenses, and SeeQuence2. OptimaFW,
2064-557: The Earl I. Sponable Collection at Columbia University. Several 55/35mm projectors and at least one 55/35mm reproducer are in the hands of collectors. Cinemascope 55 was originally intended to have a six-track stereo soundtrack. The premiere engagement of Carousel in New York did use one, recorded on magnetic film interlocked with the visual image, as with Cinerama . This proved too impractical, and all other engagements of Carousel had
2150-571: The live-action epic 20,000 Leagues Under the Sea , considered one of the best examples of early CinemaScope productions. Walt Disney Productions' Toot, Whistle, Plunk and Boom , which won an Academy Award for Best Short Subject (Cartoons) in 1953, was the first cartoon produced in CinemaScope. The first animated feature film to use CinemaScope was Lady and the Tramp (1955), also from Walt Disney Productions. Due to initial uncertainty about whether
2236-408: The "SofLens Comfort" or "Seequence" lenses which can be changed after two weeks. The "SofLens66 Toric" were specially designed for people with astigmatism . Lenses from the "Boston" range have a higher oxygen permeability and are more suited for people with sensitive or dry eyes. The newest and most advanced lens range is called "PureVision". These lenses are so oxygen-permeable that they can remain in
2322-450: The 1.66:1 aspect ratio, although the film was not shot with this ratio originally in mind. Universal-International followed suit in May with a 1.85:1 aspect ratio for Thunder Bay . By summer of 1953, other major studios Paramount , Universal , MGM , UA , Columbia , Warner Bros. , RKO , Republic , Allied Artists , Disney , Belarusfilm , Rank , and even Fox's B-unit contractors, under
2408-518: The 1950s, including Walt Disney's Lady and the Tramp (1955). 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 35 mm version of CinemaScope in 1953 and it had proved to be commercially successful. But the additional image enlargement needed to fill the new wider screens, which had been installed in theatres for CinemaScope, resulted in visible film grain. A larger film
2494-413: The 1960s and 1970s were never released in stereo at all. Finally, the 1976 introduction of Dolby Stereo – which provided similar performance to striped magnetic prints albeit more reliable and at a far lower cost – caused the four-track magnetic system to become totally obsolete. The song "Stereophonic Sound" written by Cole Porter for the 1955 Broadway musical Silk Stockings mentions CinemaScope in
2580-425: The 55.625 mm film width as satisfying that. Camera negative film had larger grain than the film stocks used for prints, so there was a consistent approach in using a larger frame on the film negative than on prints. While the image area of a print has to allow for a soundtrack, a camera negative does not. CinemaScope 55 had different frame dimensions for the camera negative and struck prints. The negative film had
2666-546: The Ciba Vision unit of Novartis a royalty on net U.S. sales of its PureVision brand contact lenses until 2014 and on net sales outside the U.S. until 2016. But as of now, the brand FreshLook comes under Bausch and Lomb and Ciba manufacturers it. On April 11, 2006, Bausch & Lomb stopped shipments of its ReNu with MoistureLoc contact lens solution when the Centers for Disease Control and Prevention (CDC) announced there
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2752-486: The Panavision lenses to keep the plane of focus at a constant anamorphic ratio of 2x, thus avoiding the horizontally-overstretched mumps effect that afflicted many CinemaScope films. After screening a demo reel comparing the two systems, many U.S. studios adopted the Panavision anamorphic lenses. The Panavision technique was also considered more attractive to the industry because it was more affordable than CinemaScope and
2838-671: The banner of Panoramic Productions had switched from filming flat shows in a 1.37:1 format, and used variable flat wide-screen aspect ratios in their filming, which would become the standard of that time. By this time Chrétien's 1926 patent on the Hypergonar lens had expired while the fundamental technique that CinemaScope utilised was not patentable because the anamorphoscope had been known for centuries. Anamorphosis had been used in visual media such as Hans Holbein 's painting, The Ambassadors (1533). Some studios thus sought to develop their own systems rather than pay Fox. In response to
2924-406: The best three of Chrétien's Hypergonars, while Bausch & Lomb continued working on their own versions. The introduction of CinemaScope enabled Fox and other studios to respond to the challenge from television by providing a key point of difference. Chrétien's Hypergonars proved to have significant optical and operational defects, primarily loss-of-squeeze at close camera-to-subject distances, plus
3010-599: The company completed an initial public offering and again became publicly traded. As of 2022, the company employs about 12,900 people, and manufactures and markets health care products directly or indirectly in approximately 100 countries. In 1853, John Bausch and Henry Lomb , both German immigrants, established a small but ambitious workshop producing monocles in Rochester, New York. By 1861, their operation had expanded to manufacturing vulcanite rubber eyeglass frames and other precision vision products. During
3096-479: The company produced optical lenses . In this manner, at the end of the 19th century, the product range included eyeglasses , microscopes and binoculars, as well as projectors , camera lenses and camera diaphragms . With the growth of the US army, under President Theodore Roosevelt and the buildup of the naval fleet, Bausch & Lomb received the commission, through the supplier Saegmuller , to manufacture high-precision lenses for optical measurement and founded
3182-441: The competing companies of Storz and Chiron were acquired. Bausch + Lomb was in a lawsuit with Novartis which claimed to have patents on a Bausch + Lomb product called PureVision. On June 26, 2002, a federal judge ruled that Bausch & Lomb did infringe on Ciba Vision (a subsidiary of Alcon) patents. On July 2, 2004, the company announced that it had licensed the intellectual property of Novartis. Bausch & Lomb will pay
3268-509: The demands for a higher visual resolution spherical widescreen process, Paramount created an optical process, VistaVision , which shot horizontally on the 35 mm film roll, and then printed down to standard four-perforation vertical 35 mm. Thus, a negative with a finer grain was created and release prints had less grain. The first Paramount film in VistaVision was White Christmas . VistaVision died out for feature production in
3354-404: The deputy who turns on Cogan because of his cruelty. Another problem with the film: Cogan doesn’t seem all that cruel. This 1960s Western film–related article is a stub . You can help Misplaced Pages by expanding it . This article related to an American film of the 1960s is a stub . You can help Misplaced Pages by expanding it . CinemaScope Its creation in 1953 by Spyros P. Skouras ,
3440-609: The dye and chemical business, such as the Spectronic 20 . A massive restructuring of the company began in the mid-1980s. What had been the core divisions, the production of lenses for various purposes, were sold off. The sunglasses division was continued as Ray-Ban and kept selling well due to effective product placement . By the planned acquisition of other firms, such as Polymer Technology Corporation and Dr. Mann Pharma, existing business areas such as contact lens production were strengthened and new ones were initiated. In 1997, as
3526-554: The eye up to 30 days without being taken out at night. The second largest business, at 25%, is the manufacture of lens-care products. As well as simple combination cleaning and disinfectant solutions for both soft and hard lenses, pH neutral solutions are available for people with particularly sensitive eyes. The Pharmaceuticals division manufactures pharmaceutical eye products, which account for 21% of turnover. This range covers prescription medicines for eye irritation, allergic reactions or high eye pressure. The development of this division
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3612-560: The firm was affected by political events. Because of the World Wars and the consequent need for optical instruments such as field glasses, range finders , camera lenses, binocular telescopes, searchlight mirrors, torpedo tube sights, and periscopes , the product range could be considerably broadened. Until World War I , optical glass and the instruments made from it (including many military instruments) were often imported into most European and North American countries from Germany. The same
3698-499: The firm. Competitors in the international eye care products market are Johnson & Johnson , Allergan , Alcon , MSD-Chibret , CooperVision , Menicon Co., Hoya Corporation , EssilorLuxottica and Carl Zeiss Meditec . In 2023, Bausch + Lomb Corp announced it would it would buy Xiidra from Novartis for $ 1.75 billion and pay additional $ 750 million in linked to future sales for Xiidra as well as two pipeline asset. Business areas are divided into three large divisions: In
3784-439: The first film with stereophonic sound, had used Disney's Fantasound system, which utilized a three-channel soundtrack played from separate optical film. Early post-war stereo systems used with Cinerama and some 3-D films had used multichannel audio played from a separate magnetic film. Fox had initially intended to use three-channel stereo from magnetic film for CinemaScope. However, Hazard E. Reeves ' sound company had devised
3870-547: The founder, developed a process to create the desired lens shape directly by casting molten glass. Previously, the glass parts for the lenses had to be separated, ground and polished in a complicated process, and this brought significant savings in time and materials. The company produced the first optical-quality glass in America during the early to mid-1900s. By the year 1903 the company began manufacturing microscopes, binoculars, and camera shutters . The further development of
3956-417: The image was expanded horizontally when projected meant that there could be visible graininess and brightness problems. To combat this, larger film formats were developed (initially a too-costly 55 mm for Carousel and The King and I ) and then abandoned (both films were eventually reduction printed at 35 mm, although the aspect ratio was kept at 2.55:1). Later Fox re-released The King and I in
4042-475: The last few years, several business areas in the Vision Care division have been developed in the framework of product diversification. The manufacturing of contact lenses still accounted for 28% of Bausch & Lomb's turnover in 2001, making it its main business activity. The "SofLens One Day" soft contact lens range have to be changed every day. The product assortment includes higher quality lenses, such as
4128-464: The late 1950s with the introduction of faster film stocks, but was revived by Industrial Light & Magic in 1975 to create high quality visual effects for Star Wars and ILM's subsequent film projects. RKO used the Superscope process in which the standard 35 mm image was cropped and then optically squeezed in post-production to create an anamorphic image on film. Today's Super 35
4214-404: The lyrics. The first verse is: "Today to get the public to attend the picture show/ It's not enough to advertise a famous star they know/ If you wanna get the crowds to come around/ You gotta have glorious Technicolor/ Breathtaking CinemaScope and stereophonic sound." The musical was adapted for film in 1957 and was indeed filmed in CinemaScope. (Although the song refers to Technicolor , the film
4300-427: The majority of their prints in standard mono optical sound form, with magnetic striped prints reserved for those theaters capable of playing them. Magnetic-striped prints were expensive to produce; each print cost at least twice as much as a print with a standard optical soundtrack only. Furthermore, these striped prints wore out faster than optical prints and caused more problems in use, such as flakes of oxide clogging
4386-499: The medical approval by the United States Food and Drug Administration and an investment of three million USD, Bausch + Lomb launched contact lenses made of Poly-HEMA . In contrast to the contact lenses previously available, made of glass and Lucite ( acrylic glass ), the new lenses were softer. They were marketed under the brand name "Soflens". In the 1970s, the company was a major producer of spectrophotometers for
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#17328012271554472-455: The most expensive version, was available with a lifetime of one year, The mid-priced, Medalist lenses were sold with a lifetime of three months, and SeeQuence2, the least expensive, came with a lifetime of two to three weeks. By 1996, the company ensured that all three versions carried the OptimaFW tag and tried to standardize the packaging, but the pricing was still different. In 1996, the case
4558-439: The motion picture industry in his invention but, at that time, the industry was not sufficiently impressed. By 1950, however, cinema attendance seriously declined with the advent of a new competitive rival: television . Yet Cinerama and the early 3D films , both launched in 1952, succeeded in defying that trend, which in turn persuaded Spyros Skouras , the head of 20th Century-Fox , that technical innovation could help to meet
4644-438: The new anamorphic format and filling in the gap created by Bausch and Lomb 's inability to mass-produce the needed adapters for movie theaters fast enough. Looking to expand beyond projector lenses, Panavision founder Robert Gottschalk soon improved upon the anamorphic camera lenses by creating a new lens set that included dual rotating anamorphic elements which were interlocked with the lens focus gearing. This innovation allowed
4730-559: The optical center of the projected image. All of Fox's CinemaScope films were made using a silent/full aperture for the negatives, as was this studio's practice for all films, whether anamorphic or not. In order to better hide so-called negative assembly splices, the ratio of the image was later changed by others to 2.39:1 (1024:429). All professional cameras are capable of shooting 2.55:1 (special 'Scope aperture plate) or 2.66:1 (standard Full/Silent aperture plate, preferred by many producers and all optical houses), and 2.35:1 or 2.39:1 or 2.40:1
4816-618: The original anamorphic CinemaScope lenses, was contracted by Fox to build new Super CinemaScope lenses that could cover the larger film frame. Fox shot two of their Rodgers and Hammerstein musical series in CinemaScope ;55: Carousel , and The King and I . But it did not make 55 mm release prints for either film; both were released in conventional 35 mm CinemaScope with a limited release of The King and I being shown in 70 mm. The company substituted Todd-AO for its wide-gauge production process, having acquired
4902-459: 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. 46 mm x 36 mm), giving an image area of 2.61 sq. inch. This compares to the 0.866" by 0.732" (approx. 22 mm x 18.6 mm) frame of a modern anamorphic 35 mm negative, which provides a frame area of 0.64 sq. inch. On the print film, however, there was
4988-442: The picture and perforations on the other side of the film; this fourth track was used for a surround channel, also sometimes known at the time as an effects channel. In order to avoid hiss on the surround/effects channel from distracting the audience the surround speakers were switched on by a 12 kHz tone recorded on the surround track only while wanted surround program material was present. This four-track magnetic sound system
5074-420: The president of 20th Century Fox , marked the beginning of the modern anamorphic format in both principal 2.55:1 , almost twice as wide as the previously common Academy format 's 1.37:1 ratio. Although the technology behind the CinemaScope lens system was made obsolete by later developments, primarily advanced by Panavision , CinemaScope's anamorphic format has continued to this day. In film-industry jargon ,
5160-408: The prime lens and the anamorphic lens in one unit (initially in 35, 40, 50, 75, 100 and 152 mm focal lengths, later including a 25 mm focal length). The combined lenses continue to be used to this day, particularly in special effects units. Other manufacturers' lenses are often preferred for so-called production applications that benefit from significantly lighter weight or lower distortion, or
5246-491: The process had expired, so Fox purchased his existing Hypergonars, and the lenses were flown to Fox's studios in Hollywood. Test footage shot with the lenses was screened for Skouras, who gave the go-ahead for development of a widescreen process, based on Chrétien's invention, which was to be known as CinemaScope. 20th Century-Fox's pre-production of The Robe , originally committed to Technicolor three-strip origination,
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#17328012271555332-442: The process would be adopted widely, a number of films were shot simultaneously with anamorphic and regular lenses. Despite early success with the process, Fox did not shoot every production by this process. They reserved CinemaScope as a trade name for their A productions, while B productions in black and white were begun in 1956 at Fox under the trade name, RegalScope. The latter used the very same optics as CinemaScope, but, usually,
5418-489: The production of 1999's The Iron Giant , director Brad Bird wanted to advertise the film with the CinemaScope name and logo, but Fox would not allow its use. A reference to CinemaScope was included during the end credits of the 2015 " Signature Edition " re-release. In the 1988 film Hairspray and the 2007 remake , there are references to CinemaScope. In both instances, they are comments made in regard to Tracy Turnblad's weight, implying that she's too big to be seen on
5504-405: The ratio of the image was reduced to 2.55:1. This reduction was kept to a minimum by reducing the width of the normal KS perforations so that they were nearly square, but of DH height. This was the CinemaScope, or CS, perforation , known colloquially as fox-holes. Later still an optical soundtrack was added, further reducing the aspect ratio to 2.35:1 (1678:715). This change also meant a shift in
5590-451: The replay heads. Due to these problems, and also because many cinemas never installed the necessary playback equipment, magnetic-sound prints started to be made in small quantities for roadshow screenings only, with the main release using standard mono optical-sound prints. As time went by roadshow screenings were increasingly made using 70 mm film , and the use of striped 35 mm prints declined further. Many CinemaScope films from
5676-435: The requirement of two camera assistants. Bausch & Lomb, Fox's prime contractor for the production of the lenses, initially produced an improved Chrétien-formula adapter lens design (CinemaScope Adapter Type I), and subsequently produced a dramatically improved and patented Bausch & Lomb formula adapter lens design (CinemaScope Adapter Type II). Ultimately, Bausch & Lomb formula combined lens designs incorporated both
5762-458: The shortened form, ' Scope , is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35:1, 2.39:1, 2.40:1, or 2.55:1 presentation or, sometimes, the use of anamorphic lensing or projection in general. Bausch & Lomb won a 1954 Oscar for its development of the CinemaScope lens. French inventor Henri Chrétien developed and patented a new film process that he called Anamorphoscope in 1926. It
5848-400: 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 camera originally built for the obsolete Fox 70 mm Grandeur film format more than 20 years before was modified to work with the new 55 mm film. Bausch & Lomb , the firm that created
5934-404: The standard four-track stereo soundtrack (sounded on the actual film) as was then used in all CinemaScope releases. In 2005, both CinemaScope 55 films were restored from the original 55 mm negatives. Lens manufacturer Panavision was initially founded in late 1953 as a manufacturer of anamorphic lens adapters for movie projectors screening CinemaScope films, capitalizing on the success of
6020-525: The television challenge. Skouras tasked Earl Sponable, head of Fox's research department, with devising a new, impressive, projection system, but something that, unlike Cinerama, could be retrofitted to existing theatres at a relatively modest cost. Herbert Brag, Sponable's assistant, remembered Chrétien's hypergonar lens. The optical company Bausch & Lomb was asked to produce a prototype "anamorphoser" (later shortened to anamorphic) lens. Meanwhile, Sponable tracked down Professor Chrétien, whose patent for
6106-486: The trademarks of Fox . Some of these include Euroscope, Franscope, and Naturama (the latter used by Republic Pictures ). In 1953, Warner Bros. also planned to develop an identical anamorphic process called Warnerscope but, after the premiere of CinemaScope, Warner Bros. decided to license it from Fox instead. Although CinemaScope was capable of producing a 2.66:1 image, the addition of magnetic sound tracks for multi-channel sound reduced this to 2.55:1. The fact that
6192-654: The vast majority of theaters were equipped for four-track magnetic sound (four-track magnetic sound achieving nearly 90 percent penetration of theaters in the greater Los Angeles area) the owners of many smaller theaters were dissatisfied with contractually having to install expensive three- or four-track magnetic stereo, and because of the technical nature of sound installations, drive-in theaters had trouble presenting stereophonic sound at all. Due to these conflicts, and because other studios were starting to release anamorphic prints with standard optical soundtracks, Fox revoked their policy of stereo-only presentations in 1957, and added
6278-409: Was a high correlation between use of the product and cases of suspected fungal keratitis . The Centers for Disease Control found that "nearly all of the company's ReNu with MoistureLoc eye care products were linked to severe fungal eye infections". Two class action lawsuits have been filed against Bausch & Lomb in relation to the eye fungus problems. Bausch & Lomb received a 100% rating on
6364-604: Was actually made in Metrocolor .) While the lens system has been retired for decades, Fox has used the trademark in recent years for a few films films: Down with Love , which was shot with Panavision optics but used the credit as a throwback to the films it references, the Don Bluth films Anastasia and Titan A.E. at Bluth's insistence. However these films are not in true CinemaScope because they use modern lenses. CinemaScope's association with anamorphic projection
6450-502: Was also true of chemical products and laboratory equipment. The outbreak of the war, with Germany's new enemy status, created a scramble to rapidly enhance the domestic industries. In 1933, Bausch + Lomb started to honor outstanding high school science students with the Bausch+Lomb Honorary Science Award. In the 1930s, military products represented 70% of total production. The Ray-Ban brand of sunglasses
6536-485: Was also used for some non-CinemaScope films; for example Fantasia was re-released in 1956, 1963, and 1969 with the original Fantasound track transferred to four-track magnetic. CinemaScope itself was a response to early realism processes Cinerama and 3-D . Cinerama was relatively unaffected by CinemaScope, as it was a quality-controlled process that played in select venues, similar to the IMAX films of later years. 3-D
6622-552: Was developed for pilots in 1936. At a time when the cinema was being superseded by television, Bausch & Lomb developed improved optics for the CinemaScope process, which popularized the film-based anamorphic format and led most cinemas to double the widths of their screens. In 1965 Bausch & Lomb acquired the patent for the hydrogel contact lenses created by Czech scientists Otto Wichterle and Drahoslav Lím . In 1971, after three years of development work, two years for
6708-511: Was halted so that the film could be changed to a CinemaScope production (using Eastmancolor , but processed by Technicolor). The use of the CinemaScope technology became a key feature of the film's marketing campaign. Two other CinemaScope productions were also planned: How to Marry a Millionaire and Beneath the Twelve-Mile Reef . So that production of the first CinemaScope films could proceed without delay, shooting started using
6794-420: Was hurt, however, by studio advertising surrounding CinemaScope's promise that it was the "miracle you see without glasses." Technical difficulties in presentation spelled the true end for 3-D, but studio hype was quick to hail it a victory for CinemaScope. In April 1953, a technique simply now known as wide-screen appeared and was soon adopted as a standard by all flat film productions in the US. In this process,
6880-409: Was not owned or licensed-out by a rival studio. Confusingly, some studios, particularly MGM, continued to use the CinemaScope credit even though they had switched to Panavision lenses. Virtually all MGM CinemaScope films after 1958 are actually in Panavision. By 1967, even Fox had begun to abandon CinemaScope for Panavision (famously at the demand of Frank Sinatra for Von Ryan's Express ), although
6966-559: Was one of the oldest continually operating companies in the United States. Bausch + Lomb was a public company listed on the NYSE , until it was acquired by private equity firm Warburg Pincus in 2007. In May 2013, Canadian-based Valeant Pharmaceuticals announced that it would acquire Bausch + Lomb from Warburg Pincus for $ 4.5 billion in cash. The deal, which was approved by shareholders, closed on August 5, 2013. On May 6, 2022,
7052-494: Was released first. 20th Century-Fox used its influential people to promote CinemaScope. With the success of The Robe and How to Marry a Millionaire, the process enjoyed success in Hollywood . Fox licensed the process to many of the major American film studios . Walt Disney Productions was one of the first companies to license the CinemaScope process from Fox. Among the features and shorts they filmed with it, they created
7138-406: Was settled for $ 68 million. In 1997, 17 states pressured Bausch & Lomb to stop the sale of duplicate lenses, deceptive practice stated in the court. The settlement also demanded the company to pay $ 1.7 million or $ 100,000 to each state to cover investigative costs. In 2009, Bausch & Lomb spent $ 250 million to settle six hundred lawsuits filed by consumers exposed to Fusarium keratitis ,
7224-467: Was speeded up by take-overs of other firms. The Surgicals division is divided into Refractive Surgery with 8% of turnover and Cataract Vitreotinal Surgery with 18%. The latter division is concerned with products for operations on glaucoma and cataracts and on the cornea, as well as implantable, interocular lenses. The Refractive Surgery division comprises mainly medical analysis devices and lasers required for eye surgery. In order to strengthen this division,
7310-426: Was that process which later formed the basis of CinemaScope. Chrétien's process used lenses that employed an optical trick, which produced an image twice as wide as those that were being produced with conventional lenses. That was done using an optical system called Hypergonar , which compressed the image laterally when the film was being shot, and dilated it when the film was projected. Chrétien attempted to interest
7396-509: Was used to reduce the need for such enlargement. CinemaScope 55 was developed to satisfy this need and was one of three high-definition film systems introduced in the mid-1950s, 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 optimal trade-off between performance and cost, and it chose
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