The funny looking box that started it all. The Super Panatar (also known as "The Gottschalk Lens"), was an adjustable prismatic anamorphic projection attachment that was mounted in front of a standard prime lens. The reason that these and similar devices from Superscope, Hilux-Projection Optics, and others, were made to be adjustable was that there was uncertainty as to what anamorphic systems would be developed. Paramount had announced a variation on VistaVision that would require 1.5x anamorphics and Rank, in Britain, had a slightly different variation that would use 1.3x. When the smoke finally settled however, only the Cinestage 35mm prints of Around The World in 80 Days with their unique 1.567x squeeze would actually materialize (see Todd-AO for details). All other 35mm anamorphic systems standardized on 2x squeeze CinemaScope compatible prints.
Panavision, Inc. was founded to manufacture high quality anamorphic projection lenses to meet the demand of theatre operators converting their houses to CinemaScope. In 1954 as M-G-M began preproduction on a massive remake of their 1925 epic Ben-Hur, Chief of Research and Development, Douglas Shearer, approached Panavision president Robert Gottschalk with a challenge to develop a new, ultra flexible, 65mm camera process. Shearer wanted to avoid the distortions common to the early CinemaScope lenses and also asked that the system should be capable of being printed in every format from 3-strip Cinerama extractions, 70mm anamorphic, 35mm CinemaScope, 35mm flat and 16mm anamorphic. Gottschalk and his staff set to work without any financial assistance from M-G-M.
The Problem and the Fix... The problem was called "CinemaScope Mumps", in which the center of the image received less horizontal squeeze when the lenses were focused at short distances. When projected, the center of the image was expanded more than its original compression. In the early days of anamorphic photography close-ups were avoided. When they were deemed necessary, the actor was placed either to the right or left of center where the inconsistent squeeze would pose no problem. It is easy to see what Gottschalk and his team at Panavision were able to accomplish. The upper image is a close taken with an early Bausch and Lomb CinemaScope lens and the lower image is a 35mm reduction print taken from the newly developed M-G-M/Panavision process. We can thank Panavision that this beautiful woman and all others photographed with anamorphic lenses don't look like broadcaster Cokie Roberts.
This promotional photo was produced by M-G-M to promote the new system. The difference between the two photos is at the same time accurate and deceiving. While the system did yield a CinemaScope compatible print without the distortions of contemporary Bausch & Lomb lenses, in fact the low anamorphic squeeze factor of 1.25x would never have created such distortion had it been applied to the B & L design. By the same token, the prismatic anamorphic design would also never create the distortion even if it was 2:1.
SUPER PANATAR LENS:
4.25 wide by 15.0 long by 3.0 back lens lens, weight of approximately 15 pounds! SUPER PANATAR ANAMORPHIC ATTACHMENT, A 7421. Manufactured by Panavision Incorporated, Los Angeles, California. Made in U.S.A. - Pat. Applied For.. No other markings on this lens Anamorphic lenses are used to squeeze an image in widescreen cinematography or unsqueeze the image for widescreen projection. Usually the image is squeezed horizontally during photography and unsqueezed horizontally during projection. The most recognized trade name for this process is Cinemascope ®. Anamorphic lenses are constructed using cylindrically shaped lenses, instead of the spherically shaped lenses used in conventional lenses. While technically an anamorphic can be made to have more or less "squeeze," the most common "squeeze factor" is 2x, which is the factor used by the Cinemascope ® process. Cinemascope is a registered trademark of 20th Century Fox.
Many factors contribute to the enjoyment of viewing a film. One such factor is the lens in the projector. This is critical. If the image isn't clear and bright with good contrast you are missing a vital part of the film experience. Enter Schneider, where we've been making lenses since 1913. We have a team of scientists and specialists with the experience and know-how to guarantee projection lenses of the highest precision and quality. And that means a more enjoyable movie for everyone in the theater.
