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94-582: Unpublished products by Mitchell Camera was the high-speed 70mm camera which was used on the SR71 plane which was manufactured in Glendale and Sun Valley California. The Mitchell Camera Corporation was founded in 1919 by Henry Boeger and George Alfred Mitchell as the National Motion Picture Repair Co. Its first camera was designed and patented by John E. Leonard in 1917, and from 1920 on, was known as

188-525: A Western Bloc (BH) professional camera, but the images will not be registered accurately. Conversely, Western Bloc (BH) camera film will not pass undamaged through a U.S.S.R. professional camera (KS), as the perforations used for registration will be damaged. 16mm and 65/70mm films were standardized late in the standardization cycle so these U.S.S.R. cameras in these gauges are indeed compatible with Western Bloc camera films. Production (sound) models in 16mm, 35mm (4- and 2-perf) and 65mm (5-perf) served as

282-404: A New York optics company, for use in their underwater photography. As widescreen filmmaking became popular, Gottschalk saw an opportunity to provide anamorphic lenses to the film industry—first for projectors , and then for cameras. Nicholson, a friend of Moore, started working as a cameraman on early tests of anamorphic photography. In the 1950s, the motion picture industry was threatened by

376-406: A basis for early Panavision cameras in those gauges. Planetary gear An epicyclic gear train (also known as a planetary gearset ) is a gear reduction assembly consisting of two gears mounted so that the center of one gear (the "planet") revolves around the center of the other (the "sun"). A carrier connects the centers of the two gears and rotates, to carry the planet gear(s) around

470-409: A demo reel of work with their anamorphic underwater system. Gottschalk learned from one of his vendors that Bausch & Lomb , whom Fox had contracted to manufacture CinemaScope lenses, was having difficulty filling the lens orders for theatrical anamorphic projection equipment. He teamed up with William Mann, who provided optical manufacturing capability, and Walter Wallin, an optical physicist who

564-461: A designer for Panavision and—after opening some of the older lenses—figured out the secret. In the mid-1960s, Gottschalk altered Panavision's business model. The company now maintained its full inventory, making its lenses and the cameras it had acquired from MGM available only by rental. This meant that equipment could be maintained, modified, and regularly updated by the company. When Panavision eventually brought its own camera designs to market, it

658-508: A digital electronic tachometer and magazine motors for the take-up reel. Ted Post 's Magnum Force (1973) and Steven Spielberg 's The Sugarland Express (1974) were the first motion pictures filmed with the Panaflex. During the 1970s, the Panaflex line was updated and marketed in new incarnations: the Panaflex X, Panaflex Lightweight (for steadicam ), the high-speed Panastar, Panaflex Gold, and Panaflex G2. Panavision came out with

752-484: A direct competitor to Tiffen 's Steadicam stabilizer, the Panaglide harness. The Panacam, a video camera , was also brought out, though the company largely left the video field to others. Robert Gottschalk died in 1982 at the age of 64. After Gottschalk's death, Warner Communications sold the company to a consortium headed by Ted Field , John Farrand , and Alan Hirschfield. With new ownership came sweeping changes to

846-429: A drop in production and difficulty servicing significant debt as a result of the 1998 Mafco transaction, shareholder MacAndrews & Forbes agreed to a debt restructuring arrangement with Panavision's creditors. Private equity firm Cerberus Capital was the lead investor in the deal, which involved a US$ 140 million reduction in debt and a US$ 40 million cash infusion. In return the majority shareholder Ronald Perelman

940-541: A majority interest in Panavision in 1998, via a Mafco subsidiary. After aborted attempts to create a film-style video camera in the 1970s and 1980s, Panavision joined the digital revolution in July 2000, establishing DHD Ventures in partnership with Sony . The new company's objective was to raise the quality of high definition digital video to the standards of top-level Hollywood motion-picture production. This cooperative venture

1034-757: A pin-registered background plate projector with a carbon arc lamphouse which was synchronized with the film camera. One of the first MPRPPs (Mitchell Pin Registered Process Projector) was used in Gone with the Wind . Two- and three-headed background projectors evolved for VistaVision effects. George Mitchell received an Academy Honorary Award in 1952. The Mitchell Camera Company received Academy Awards for Technical Achievement in 1939, 1966 and 1968. In 1944, unable to purchase Mitchell cameras in Pounds Sterling ,

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1128-442: A planet engaging both a sun gear and a ring gear is called a planetary gear train . By choosing to hold one component or another—the planetary carrier, the ring gear, or the sun gear—stationary, three different gear ratios can be realized. Epicyclic gearing or planetary gearing is a gear system consisting of one or more outer, or planet , gears or pinions , revolving about a central sun gear or sun wheel . Typically,

1222-410: A planetary gear train begins by considering the speed ratio of the gear train when the carrier is held fixed. This is known as the fixed carrier train ratio. In the case of a simple planetary gear train formed by a carrier supporting a planet gear engaged with a sun and ring gear, the fixed carrier train ratio is computed as the speed ratio of the gear train formed by the sun, planet and ring gears on

1316-429: A significant share of the market. In 1968, Panavision released a handheld 65 mm camera. By that time, however, the much cheaper process of blowing up 35 mm anamorphic films to 70 mm—introduced with The Cardinal (1964)—had made 65 mm production virtually obsolete. In 1970, the last two feature films shot entirely with Super Panavision were released: Song of Norway and Ryan's Daughter . In

1410-548: A special bracket. Its variable prismatic system allowed a range of film formats to be shown from the same projector with a simple adjustment of the lens. Panavision improved on the Super Panatar with the Ultra Panatar, a lighter design that could be screwed directly to the front of the projection lens. Panavision lenses gradually replaced CinemaScope as the leading anamorphic system for theatrical projection. In December 1954,

1504-615: A strong platform on which to grow the international side of our business and also completes our company-controlled distribution system in the US. Additionally, we will immediately expand our presence in key Southeast Asia markets, where television and film activity are expect to grow rapidly. Overall, the transaction enables us to control a true worldwide distribution network for Panavision’s camera systems and related products, one of our most important strategic objectives." Ronald Perelman 's solely owned MacAndrews & Forbes Holdings (Mafco) acquired

1598-402: A true 35 mm depth of field . The camera's electronics—including its CCD ( charge-coupled device ) image sensor —and HDCAM SR record deck were manufactured by Sony. The chassis and mechanics were designed by a Panavision team led by Albert Mayer Jr., son of the Panaflex designer. The Genesis was first used on Superman Returns (2006) followed soon after by Flyboys (2006); But

1692-414: A widening of the face due to a loss of anamorphic power as a subject approaches the lens. Because of the novelty of the new anamorphic process, early CinemaScope productions compensated for this aberration by avoiding tightly framed shots. As the anamorphic process became more popular, it became more problematic. Panavision invented a solution: adding a rotating lens element that moved in mechanical sync with

1786-398: Is a 2.20:1 aspect ratio, rather than the broader ratio originally intended. Although Fox insisted on maintaining CinemaScope for a time, some actors disliked the system. For Fox's 1965 production Von Ryan's Express , Frank Sinatra reputedly demanded that Auto Panatar lenses be used. Such pressures led Fox to completely abandon CinemaScope for Auto Panatars that year; Von Ryan's Express

1880-468: Is a whole number If one is to create an asymmetric carrier frame with non-equiangular planet gears, say to create some kind of mechanical vibration in the system, one must make the teething such that the above equation complies with the "imaginary gears". For example, in the case where a carrier frame is intended to contain planet gears spaced 0°, 50°, 120°, and 230°, one is to calculate as if there are actually 36 planetary gears (10° equiangular), rather than

1974-422: Is constructed from two identical coaxial epicyclic gear trains assembled with a single carrier such that their planet gears are engaged. This forms a planetary gear train with a fixed carrier train ratio R  = −1. In this case, the fundamental formula for the planetary gear train yields, or Thus, the angular velocity of the carrier of a spur gear differential is the average of the angular velocities of

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2068-405: Is stationary); one of the two remaining components is an input , providing power to the system, while the last component is an output , receiving power from the system. The ratio of input rotation to output rotation is dependent upon the number of teeth in each of the gears, and upon which component is held stationary. Alternatively, in the special case where the number of teeth on each gear meets

2162-610: Is the lowest gear ratio attainable with an epicyclic gear train. This type of gearing is sometimes used in tractors and construction equipment to provide high torque to the drive wheels. In bicycle hub gears , the sun is usually stationary, being keyed to the axle or even machined directly onto it. The planetary gear carrier is used as input. In this case the gear ratio is simply given by N s + N r N r   . {\displaystyle {\tfrac {\,N_{\text{s}}+N_{\text{r}}\,}{N_{\text{r}}}}~.} The number of teeth in

2256-701: The Rank Organisation in the UK exploited a loophole (the Mitchell company had failed to register a patent in the UK for the NC) and had the Newall company produce 200 cameras known as the Newall NC. In arrangement with Technicolor , 20 Newall cameras were modified to use bi-pack film (with double magazines) to film the 1948 Olympic Games in color, though with a limited palette. The process

2350-488: The bookwheel , a vertically revolving bookstand containing epicyclic gearing with two levels of planetary gears to maintain proper orientation of the books. French mathematician and engineer Desargues designed and constructed the first mill with epicycloidal teeth c.  1650 . In order that the planet gear teeth mesh properly with both the sun and ring gears, assuming n p {\displaystyle n_{\text{p}}} equally spaced planet gears,

2444-554: The focus ring. This eliminated the distortion and allowed for natural close-up anamorphic photography. The Auto Panatar, released in 1958, was rapidly adopted, eventually making CinemaScope lenses obsolete. This innovation earned Panavision its first of 15 Academy Awards for technical achievement. Since 1954, Panavision had been working on a new widescreen process commissioned by MGM . The MGM camera system used 1930 Mitchell FC "Fox Grandeur" 70mm motion picture cameras, retooled for 65mm film and modern lenses. The resulting system used

2538-450: The Arriflex 765. The gauge was not widely readopted, and only two major Hollywood films were shot with the new 65 mm Panavision process: Far and Away (1992) and Kenneth Branagh 's Hamlet (1996). In 1992, Panavision launched a project to develop a camera that involved rethinking every aspect of the company's existing 35 mm system. Nolan Murdock and Albert Mayer Sr. headed up

2632-601: The Greeks invented the idea of epicycles, of circles travelling on the circular orbits. With this theory Claudius Ptolemy in the Almagest in 148 CE was able to approximate planetary paths observed crossing the sky. The Antikythera Mechanism , circa 80 BCE, had gearing which was able to closely match the Moon's elliptical path through the heavens, and even to correct for the nine-year precession of that path. (The Greeks interpreted

2726-507: The Mitchell Camera Company when it closed in 1979. Mitchell Camera Supplies were supplied by Mitchell Camera Corporation management through the late 1980's. Mitchell Camera also supplied camera intermittent movements for Technicolor 's three-strip camera (1932), and such movements for others' 65mm and VistaVision conversions before later making complete 65mm and VistaVision cameras in normal and high speed. Mitchell also made

2820-556: The Mitchell Standard Studio Camera. Features included a planetary gear -driven variable shutter U.S. patent 1,297,703 and a unique rack-over design U.S. patent 1,297,704 . George Mitchell perfected and upgraded Leonard's original design, and went on to produce the most beloved and most universally used motion picture cameras of the Golden Age of Hollywood under the name of The Mitchell Camera Company. The company

2914-599: The Mitchell movement. The effort to develop a lighter, quieter camera with a reflex viewfinder led to the introduction of the Panavision Silent Reflex (PSR) in 1967. The camera could provide a shutter angle of up to 200 degrees. Many refinements were made to the PSR during the first few years after its introduction, and it soon became one of the most popular studio cameras in the world. Panavision also began manufacturing spherical lenses for 1.85:1 photography, garnering

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3008-583: The Mitchell-designed rackover focusing mechanism and the Mitchell-designed side viewer. Though the Eastern Bloc standard for camera film is Kodak Standard perforations, that standard was rejected by the very Bloc which proposed it. U.S.S.R. professional cameras consequently require film stocks that are incompatible with Western Bloc camera film, which always uses Bell & Howell perforations. Eastern Bloc (KS) camera film will pass undamaged through

3102-510: The Panaflex: two smaller sprocket drums for feed and take-up (a design similar to the Moviecam and subsequent Arricam ) instead of one large drum to do both. As of 2006, Panavision has no further plans to develop additional film camera models. In May 1997, Panavision announced it would be purchasing Visual Action Holdings PLC, a major film services group for $ 61m (£37.5m). The British-based company

3196-494: The XL, the XL2 was initially released in 2004.[26] . The first feature films to use these latter two systems were, respectively, The Perfect Storm (2000) and Just Like Heaven (2005). The XL series not only had a much smaller camera body—making it suitable for studio, handheld, and steadicam work—but also marked the first significant change to the film transport mechanism in the camera since

3290-400: The advent of television —TV kept moviegoers at home, reducing box office revenues. Film studios sought to lure audiences to theaters with attractions that television could not provide. These included a revival of color films , three-dimensional films , stereophonic sound , and widescreen movies. Cinerama was one of the first widescreen movie processes of the era. In its initial conception,

3384-475: The camera company One8Six (2006), and the camera inventory of Joe Dunton & Company (2007). On July 28, 2006, Mafco announced it was acquiring the remaining Panavision stock and returning the company to private status. A $ 345 million credit line from Bear Stearns and Credit Suisse was secured to finance the company's debt as well as to facilitate "global acquisitions." That same year, Mafco acquired Deluxe Entertainment Services Group. In March 2010, citing

3478-524: The comedy Scary Movie 4 (2006), shot afterward on a mixture of 35mm film and the Genesis, actually went into general release first because of the extensive visual effects work needed to complete both Flyboys and Superman Returns. Subsequent to the completion of major design work on the Genesis, Panavision bought out Sony's 49 percent share of DHD Ventures and fully consolidated it in September 2004. During

3572-498: The company brought out Primo, a new line of lenses. Designed with a consistent color match between all the different focal-length instruments in the line, these were also the sharpest lenses yet manufactured by Panavision. Six years later, Oscars were awarded to the company and to three of its employees for their work on the Primo 3:1 zoom lens : Iain Neil for the optical design, Rick Gelbard for

3666-554: The company created a specialized lens for film laboratories—the Micro Panatar. When fitted to an optical printer , the lens could create "flat" (non-anamorphic) prints from anamorphic negatives. This allowed films to be distributed to theaters that did not have an anamorphic system installed. Before the Micro Panatar, to accomplish this dual-platform release strategy, studios would sometimes shoot films with one anamorphic and one spherical camera, allowing non-widescreen theaters to exhibit

3760-525: The company to pursue private careers. That year, MGM's Camera 65 production of Mutiny on the Bounty went so far over budget that the studio liquidated assets to cover its costs. As a result of this liquidation, Panavision acquired MGM's camera equipment division, as well as the rights to the Camera 65 system it had developed for MGM; the technology was renamed Ultra Panavision . Only six more features were made with

3854-449: The company, which had stagnated. Optics testing was computerized and, in 1986, the new Platinum model camera was introduced. The next year—responding to a perceived demand for the resurrection of the 65 mm camera—development began on a new model. The company was sold to Lee International PLC for $ 100 million in 1987, but financing was overextended and ownership reverted to the investment firm Warburg Pincus two years later. In 1989,

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3948-456: The cumbersome system required three cameras for shooting and three synchronized projectors to display a picture on one wide, curved screen. Along with the logistical and financial challenges of tripling equipment usage and cost, the process led to distracting vertical lines between the three projected images. Looking for a high-impact method of widescreen filmmaking that was cheaper, simpler, and less visually distracting, 20th Century Fox acquired

4042-449: The decades since, only a handful of films have been shot in 65 mm. Albert Mayer led the next major project: the creation of a lightweight reflex camera adaptable to either handheld or studio conditions. After four years of development, the Panaflex debuted in 1972. A revolutionary camera that operated quietly, the Panaflex eliminated the need for a cumbersome sound blimp , and could synchronize handheld work. The Panaflex also included

4136-467: The demands of modern filmmakers. The company introduced its first products in 1954. Originally a provider of CinemaScope accessories, the company's line of anamorphic widescreen lenses soon became the industry leader. In 1972, Panavision helped revolutionize filmmaking with the lightweight Panaflex 35 mm movie camera . The company has introduced other cameras such as the Millennium XL (1999) and

4230-470: The design team. The new Millennium camera, replacing the Platinum as the company's flagship, was introduced in 1997. The Millennium XL came to the market in 1999 and was led by Al Mayer, Jr. It soon established itself as Panavision's new 35mm workhorse. The XL was the first product in Panavision history to win both an Academy Award and a Primetime Emmy Award within the first year of official release. The update to

4324-413: The digital video Genesis (2004). Panavision operates exclusively as a rental facility—the company owns its entire inventory, unlike most of its competitors. Robert Gottschalk founded Panavision in late 1954, in partnership with Richard Moore , Meredith Nicholson , Harry Eller, Walter Wallin, and William Mann; the company was formally incorporated in 1954. Panavision was established principally for

4418-479: The equipment's integration into existing crew equipment as a "digital cinema camera". This Panavision HD-900F , was used in the making of Lucasfilm 's Star Wars: Episode II – Attack of the Clones (2002), described as "the first digital major feature film". Panavision's next step in the evolution of digital cinema cameras also involved collaboration between Sony and Panavision; this time, Panavision participated in all

4512-457: The film. The cost savings of eliminating the second camera and making flat prints in post-production were enormous. Another innovation of the era secured Panavision's leading position: the Auto Panatar camera lens for 35 mm anamorphic productions. Early CinemaScope camera lenses were notoriously problematic in close-ups with an optical aberration that was commonly known as "the mumps":

4606-406: The fixed carrier. This is given by In this calculation the planet gear is an idler gear. The fundamental formula of the planetary gear train with a rotating carrier is obtained by recognizing that this formula remains true if the angular velocities of the sun, planet and ring gears are computed relative to the carrier angular velocity. This becomes, This formula provides a simple way to determine

4700-399: The following equation must be satisfied: where N s , N r {\displaystyle N_{\text{s}},N_{\text{r}}} are the number of teeth of the sun gear and the ring gear , respectively and n p {\displaystyle n_{\text{p}}} is the number of planet gears in the assembly and A {\displaystyle A}

4794-682: The following three types of structures: meshed-planet (there are at least two more planets in mesh with each other in each planet train), stepped-planet (there exists a shaft connection between two planets in each planet train), and multi-stage structures (the system contains two or more planet sets). Compared to simple planetary gears, compound planetary gears have the advantages of larger reduction ratio, higher torque-to-weight ratio, and more flexible configurations. The axes of all gears are usually parallel, but for special cases like pencil sharpeners and differentials , they can be placed at an angle, introducing elements of bevel gear (see below). Further,

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4888-586: The following year, eventually renaming itself Warner Communications due to a financial scandal. Kinney/Warner's financial resources made possible a massive expansion in Panavision's inventory, as well as substantial leaps in research and development. During this period, the company's R&D department focused on retrofitting the industry standard 35 mm camera, the Mitchell BNC. The first cameras produced by Panavision were Mitchell cameras, and all standard 35mm cameras made by Panavision to this day are based on

4982-414: The following: and only if ω r ≠ ω c   . {\displaystyle \omega _{\text{r}}\neq \omega _{\text{c}}~.} In many epicyclic gearing systems, one of these three basic components is held stationary (hence set ω ... = 0 {\displaystyle \omega _{\text{...}}=0} for whichever gear

5076-477: The four real ones. The gear ratio of an epicyclic gearing system is somewhat non-intuitive, particularly because there are several ways in which an input rotation can be converted into an output rotation. The four basic components of the epicyclic gear are: The overall gear ratio of a simple planetary gearset can be calculated using the following two equations, representing the sun-planet and planet-ring interactions respectively: where from which we can derive

5170-401: The internal gear mate that is typical of a ring gear. Some epicyclic gear trains employ two planetary gears which mesh with each other. One of these planets meshes with the sun gear, the other planet meshes with the ring gear. This results in different ratios being generated by the planetary and also causes the sun gear to rotate in the same direction as the ring gear when the planet carrier is

5264-492: The manufacture of anamorphic projection lenses to meet the growing demands of theaters showing CinemaScope films. At the time of Panavision's formation, Gottschalk owned a camera shop in Westwood Village, California, where many of his customers were cinematographers . A few years earlier, he and Moore—who worked with him in the camera shop—were experimenting with underwater photography ; Gottschalk became interested in

5358-472: The mechanical design, and Eric Dubberke for the lens's engineering. According to the AMPAS citation, "The high contrast and absence of flare, along with its ability to provide close focusing and to maintain constant image size while changing focus, make the Primo 3:1 Zoom Lens truly unique." In 1991, the company released its new 65 mm technology, System 65, though Arri had beaten it to market by two years with

5452-465: The motion they saw, not as elliptical, but rather as epicyclic motion.) In the 2nd century AD treatise The Mathematical Syntaxis (a.k.a. Almagest ), Claudius Ptolemy used rotating deferent and epicycles that form epicyclic gear trains to predict the motions of the planets. Accurate predictions of the movement of the Sun, Moon, and the five planets, Mercury, Venus, Mars, Jupiter, and Saturn, across

5546-585: The notation "Process lenses by Panavision" next to the Super Technirama 70 logo. The first film to be presented in 70 mm anamorphic— Ben-Hur —was released by MGM in 1959 under the trade name MGM Camera 65 . Panavision also developed a non-anamorphic widescreen process called Super Panavision 70 , which was essentially identical to Todd-AO. Super Panavision made its screen debut in 1959 with The Big Fisherman , released by Disney 's Buena Vista division. By 1962, four of Panavision's founders had left

5640-466: The other, not with meshed teeth but with a pin inserted into a slot on the second. As the slot drove the second gear, the radius of driving would change, thus invoking a speeding up and slowing down of the driven gear in each revolution. Richard of Wallingford , an English abbot of St. Albans monastery, later described epicyclic gearing for an astronomical clock in the 14th century. In 1588, Italian military engineer Agostino Ramelli invented

5734-705: The planet gear is irrelevant. From the above formulae, we can also derive the accelerations of the sun, ring and carrier, which are: In epicyclic gears, two speeds must be known in order to determine the third speed. However, in a steady state condition, only one torque must be known in order to determine the other two torques. The equations which determine torque are: where: τ r {\displaystyle \tau _{r}} — Torque of ring (annulus), τ s {\displaystyle \tau _{s}} — Torque of sun, τ c {\displaystyle \tau _{c}} — Torque of carrier. For all three, these are

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5828-472: The planet gear(s) about its axis. Rotation of the planet gears can in turn drive the ring gear (not depicted in diagram), at a speed corresponding to the gear ratios: If the ring gear has N r {\displaystyle \,N_{\text{r}}\,} teeth, then the ring will rotate by N p N r {\displaystyle \,{\tfrac {\,N_{\text{p}}\,}{N_{\text{r}}}}\,} turns for each turn of

5922-463: The planet gears are mounted on a movable arm or carrier , which itself may rotate relative to the sun gear. Epicyclic gearing systems also incorporate the use of an outer ring gear or annulus , which meshes with the planet gears. Planetary gears (or epicyclic gears) are typically classified as simple or compound planetary gears. Simple planetary gears have one sun, one ring, one carrier, and one planet set. Compound planetary gears involve one or more of

6016-533: The planetary gears. For instance, if the ring gear has 64 teeth, and the planets 16 teeth, one clockwise turn of a planet gear results in ⁠ 16 / 64  ⁠ , or ⁠ 1 / 4  ⁠ clockwise turns of the ring gear. Extending this case from the one above: So, with the planetary carrier locked, one turn of the sun gear results in − N s N r {\displaystyle \;-{\tfrac {\,N_{\text{s}}\,}{N_{\text{r}}}}\;} turns of

6110-461: The ratio is equal to − N s N p . {\displaystyle -{\tfrac {\,N_{\text{s}}\,}{N_{\text{p}}}}\;.} For instance, if the sun gear has 24 teeth, and each planet has 16 teeth, then the ratio is ⁠− + 24 / 16  ⁠ , or ⁠− + 3 / 2  ⁠ ; this means that one clockwise turn of the sun gear produces 1.5  counterclockwise turns of each of

6204-415: The relationship N r = N s + 2 N p , {\displaystyle \,N_{\text{r}}=N_{\text{s}}+2\,N_{\text{p}}\;,} the equation can be re-written as the following: where These relationships can be used to analyze any epicyclic system, including those, such as hybrid vehicle transmissions, where two of the components are used as inputs with

6298-477: The retooled Grandeur 65 mm film camera in conjunction with the APO Panatar lens, which was an integrated anamorphic lens (as opposed to a standard prime lens with an anamorphoser mounted on it). This created a 1.25x anamorphic squeeze factor. Movies using the process had an astounding potential aspect ratio of 2.76:1 when exhibited with 70 mm anamorphic projection prints. Introduced as MGM Camera 65 ,

6392-484: The rights to a process it branded CinemaScope : in this system, the film was shot with anamorphic lenses. The film was then exhibited with a complementary anamorphic lens on the projector that expanded the image, creating a projected aspect ratio (the ratio of the image's width to its height) twice that of the image area on the physical frame of film. By the time the first CinemaScope movie— The Robe (1953)—was announced for production, Gottschalk, Moore and Nicholson had

6486-692: The ring gear is held stationary and the sun gear is used as the input, the planet carrier will be the output. The gear ratio in this case will be 1 / ( 1 + N r N s ) = N s N s + N r , {\displaystyle \,1/\left(1+{\tfrac {\,N_{\text{r}}\,}{N_{\text{s}}}}\right)={\tfrac {N_{\text{s}}}{\,N_{\text{s}}+N_{\text{r}}\,}}\;,} which may also be written as N s : N s + N r   . {\displaystyle \;N_{\text{s}}:N_{\text{s}}+N_{\text{r}}~.} This

6580-539: The ring gear. The ring gear may also be held fixed, with input provided to the planetary gear carrier; output rotation is then produced from the sun gear. This configuration will produce an increase in gear ratio, equal to 1 + N r N s = N s + N r N s   . {\displaystyle \;1+{\tfrac {\,N_{\text{r}}\,}{N_{\text{s}}}}={\tfrac {\,N_{\text{s}}+N_{\text{r}}\,}{N_{\text{s}}}}~.} If

6674-490: The same period, Panavision began acquiring related motion picture companies, including EFILM (acquired 2001; sold to Deluxe in full by 2004), Technovision France ( Henryk Chroscicki  [ it ] ) (2004), the motion picture camera-rental arm of the Canadian rental house William F. White International (2005), the digital camera rental company Plus8Digital (2006), the international lighting and equipment company AFM and

6768-498: The sky assumed that each followed a trajectory traced by a point on the planet gear of an epicyclic gear train. This curve is called an epitrochoid . Epicyclic gearing was used in the Antikythera Mechanism , circa 80 BCE, to adjust the displayed position of the Moon for the ellipticity of its orbit , and even for its orbital apsidal precession . Two facing gears were rotated around slightly different centers; one drove

6862-476: The speed ratios for the simple planetary gear train under different conditions: 1. The carrier is held fixed, ω c =0, 2. The ring gear is held fixed, ω r =0, 3. The sun gear is held fixed, ω s =0, Each of the speed ratios available to a simple planetary gear train can be obtained by using band brakes to hold and release the carrier, sun or ring gears as needed. This provides the basic structure for an automatic transmission . A spur gear differential

6956-464: The stages of development. The aim was to create a system that could use the entire range of the company's 35 mm spherical lenses. This led to the 2004 introduction of the Genesis HD—a full bandwidth (4:4:4) HD-SDI camera with improved colorimetry - and sensitometry -related specs. Its Super 35 mm film –sized recording area made it focally compatible with regular 35 mm lenses, giving it

7050-476: The stationary. The fundamental equation becomes: Panavision Panavision Inc. is an American motion picture equipment company founded in 1954 specializing in cameras and lenses , based in Woodland Hills, California . Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product lines to meet

7144-410: The sun and ring gears. In discussing the spur gear differential, the use of the term ring gear is a convenient way to distinguish the sun gears of the two epicyclic gear trains. Ring gears are normally fixed in most applications as this arrangement will have a good reduction capacity. The second sun gear serves the same purpose as the ring gear of a simple planetary gear train but clearly does not have

7238-400: The sun gear. The planet and sun gears mesh so that their pitch circles roll without slip. If the sun gear is held fixed, then a point on the pitch circle of the planet gear traces an epicycloid curve. An epicyclic gear train can be assembled so the planet gear rolls on the inside of the pitch circle of an outer gear ring, or ring gear, sometimes called an annulus gear . Such an assembly of

7332-471: The sun, planet carrier and ring axes are usually coaxial . Epicyclic gearing is also available which consists of a sun, a carrier, and two planets which mesh with each other. One planet meshes with the sun gear, while the second planet meshes with the ring gear. For this case, when the carrier is fixed, the ring gear rotates in the same direction as the sun gear, thus providing a reversal in direction compared to standard epicyclic gearing. Around 500 BCE,

7426-519: The system was used on just a few films, the first of which was Raintree County (1956). However, the film was released only in 35 mm anamorphic prints because the circuit of 70 mm theaters was booked with Around the World in Eighty Days (1956), shot with the competing, non-anamorphic Todd-AO system. In January 1959, the posters for the 70 mm release of Disney's Sleeping Beauty carried

7520-672: The system: It's a Mad, Mad, Mad, Mad World (1963), The Fall of the Roman Empire (1964), Battle of the Bulge (1965), The Greatest Story Ever Told (1965), The Hallelujah Trail (1965), and Khartoum (1966). The system was revived in 2015 for Quentin Tarantino's The Hateful Eight . As 1.25× anamorphosers for 70 mm projectors have become rare, most of the 70 mm prints of these films still in circulation are designed for projection with non-anamorphic, spherical lenses. The result

7614-529: The technology of anamorphic lenses, which allowed him to get a wider field of view from his underwater camera housing. The technology was created during World War I to increase the field of view on tank periscopes ; the periscope image was horizontally "squeezed" by the anamorphic lens. After it was unsqueezed by a complementary anamorphic optical element, the tank operator could see double the horizontal field of view without significant distortion. Gottschalk and Moore bought some of these lenses from C. P. Goerz ,

7708-554: The third providing output relative to the two inputs. In one arrangement, the planetary carrier (green in the diagram above) is held stationary, and the sun gear (yellow) is used as input. In that case, the planetary gears simply rotate about their own axes (i.e., spin) at a rate determined by the number of teeth in each gear. If the sun gear has N s {\displaystyle \,N_{\text{s}}\,} teeth, and each planet gear has N p {\displaystyle \,N_{\text{p}}\,} teeth, then

7802-425: The torques applied to the mechanism (input torques). Output torques have the reverse sign of input torques. These torque ratios can be derived using the law of conservation of energy. Applied to a single stage this equation is expressed as: In the cases where gears are accelerating, or to account for friction, these equations must be modified. A convenient approach to determine the various speed ratios available in

7896-480: Was an acquaintance of Mann's. The anamorphic lens design they selected was prismatic rather than the cylindrical design of the Bausch & Lomb CinemaScope lens. This design meant the anamorphic lens extension factor—how much the image is horizontally unsquished—could be manually shifted, useful for projectionists switching between non-anamorphic ("flat" or "spherical") trailers and an anamorphic feature . The result

7990-586: Was established, largely at the instigation of George Lucas , to serve his designs for the Star Wars prequels. The collaboration resulted in the Sony HDW-F900 CineAlta HDCAM high definition video camera. Sony produced the electronics and a stand-alone version of the camera; Panavision supplied custom-designed high definition lenses, trademarked Primo Digital, and retrofitted the camera body to incorporate standard film camera accessories, facilitating

8084-709: Was first headquartered on Sunset Blvd in Los Angeles, then building a new factory in West Hollywood and moving there in 1930, and finally moving operations to its factory location in Glendale, California in the 1940s. Its final location was in Sun Valley California where it moved in the 1970's. The Mitchell Camera Movement was utilized for animation in George Lucas Star Wars films. Mitchell Camera Corporation

8178-562: Was formerly known as Samuelson Group PLC. The company operated three rental depots in the UK and was main agent for Panavision in France and Australia. It also had smaller rental operations in New Zealand, Singapore, Malaysia, and Indonesia. Crucially, it controlled three Panavision agencies in the US cities of Atlanta, Chicago, and Dallas (acquired from Victor Duncan, Inc.). Panavision CEO William C Scott said, "This transaction provides Panavision with

8272-581: Was intended to create a comprehensive production and post-production entity. Saban Capital Acquisition Corp. intended to change its name to Panavision Holdings Inc. and was expected to continue to trade on the Nasdaq stock exchange. Saban ended up terminating its deal to acquire Panavision on March 1, 2019. Panavision 3D was a system for presenting 3-D film in a digital cinema . It was a passive stereoscopic 3D system that utilized spectral comb filters produced using thin-film optics technology. In such systems,

8366-467: Was known as Technichrome. The resulting film used sequences filmed in three-strip Technicolor, Technichrome, and Technicolor Monopack, the latter also filmed with a Newall NC. Certain models were copied in whole or in part by the U.S.S.R. , mostly models which were intended for filming animation or special effects process plates, or for high-speed filming. In a few cases, the U.S.S.R. added spinning mirror-shutter reflex focusing and viewing, thereby deleting

8460-550: Was privately and quietly purchased in mid 1929 by William Fox of Fox Film Studios , just before the Great Depression began, though George Mitchell continued working with the company until he retired in the 1950s. Although William Fox had lost control and possession of his own Fox Film Studios and theaters empire in March of 1930, he apparently quietly retained possession of the Mitchell Camera Company, as his two daughters still owned

8554-587: Was relatively unconstrained by retrofitting and manufacturing costs, as it was not directly competing on sales price. This allowed Panavision to build cameras to new standards of durability. The new business model required additional capital. To this end, the company was sold to Banner Productions in 1965, with Gottschalk remaining as president. Panavision would soon expand into markets beyond Hollywood , eventually including New York, Europe, Australia, Hong Kong, and Southeast Asia. Kinney National Company bought out Banner in 1968 and took over Warner Bros.-Seven Arts

8648-411: Was required to relinquish control of Panavision, and he no longer has any equity in the company. In June 2013, its creditors sued over an unpaid debt of $ 1.7 million, threatening to dissolve the company if they win. On September 13, 2018, Saban Capital Acquisition Corp. announced the purchase of Panavision and Sim Video International in a $ 622 million cash and stock deal. The proposed transaction

8742-476: Was the anamorphozing system, designed by Wallin, used in the Panatar lens; the patent for the system was filed on August 11, 1954, and awarded five years later. Panavision's first product—the Super Panatar projection lens—debuted in March 1954. Priced at US$ 1,100 (equivalent to US$ 12,480.3 in 2023) , it captured the market. The Super Panatar was a rectangular box that attached to the existing projection lens with

8836-441: Was the studio's first picture with Panavision lenses. To meet the extraordinary demand for Panavision projection lenses, Gottschalk had Bausch & Lomb CinemaScope lenses retrofitted into Panavision housings with a new astigmatic attachment, improving them greatly. This was revealed many years after Gottschalk's death; a lead designer from Bausch & Lomb, who had been involved with the original CinemaScope project, came to work as

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