What Is VistaVision? Inside the Classic Widescreen Format Behind Hollywood’s Biggest Films
The promotional materials are out for the new Paul Thomas Anderson film _One Battle After Another_ , and by now, I'm sure you've heard everyone urging you to see the movie in VistaVision.
But _One Battle After Another_ is just the latest in a new wave of movies resurrecting the old format.
So, what is VistaVision?
And why is it being resurrected now, and what does it mean that PTA is not only shooting on it but projecting on it in four select theaters worldwide?
Let's dive in.
- YouTubewww.youtube.com
* * *
## So, What Exactly Is VistaVision?
VistaVision is a 35mm format where the film stock runs horizontally through the camera instead of vertically. Each frame is eight perforations wide, creating a much larger negative with roughly double the surface area of a standard 35mm frame.
The reason filmmakers love this is that it allows them to get much more information on a single cell of film.
The result is a stunningly high-resolution image with incredibly fine grain and clarity that punches way above its 35mm weight class.
- YouTubewww.youtube.com
### The 1950s Widescreen Wars
During the golden age of Hollywood, movies were in a battle with TV. Execs watched people go to the theater (much like today), so they were constantly trying to make the screens bigger and make that a selling point.
VistaVision was Paramount's high-fidelity answer. It was a spherical (non-anamorphic) format that achieved its widescreen look through sheer image quality.
It was on display in _White Christmas_ , which was released in 1954. And when that movie did well, it made everyone excited and brought people to the theater.
It quickly became the format of choice for auteurs who cared about a pristine image.
Alfred Hitchcock used it for five films, including _Vertigo_ and _North by Northwest_ , and John Ford captured the epic landscapes of _The Searchers_ with its breathtaking clarity.
### VistaVision Versatility and Aspect Ratio
VistaVision was highly adaptable and could be projected at various widescreen aspect ratios, typically between 1.66:1 and 2.00:1. This allowed theaters to choose the presentation that best fit their existing screens.
### Economic Accessibility
The format's biggest advantage was its compatibility with existing equipment. The larger horizontal negative was printed down to standard, vertical 35mm reels while retaining its widescreen aspect ratio.
This meant exhibitors did not need to purchase expensive new projectors or special lenses, which were required for competing formats like CinemaScope.
### Theater Layout Preservation
Unlike other widescreen systems such as Cinerama or early CinemaScope, VistaVision did not require theaters to remove seats or undergo costly renovations to accommodate the projection equipment or a new, wider screen.
### Enhanced Audience Experience
Ultimately, VistaVision's high-fidelity image allowed patrons to see a sharper and more detailed picture on the big screen. This superior visual quality was intended to create a more immersive and enjoyable cinematic experience, giving audiences a compelling reason to choose the theater over watching television at home.
## VistaVision Disappears
So, if it was so great, why did it disappear?
The VistaVision cameras were huge and hard to work with. They were also notoriously noisy, and they burned through film twice as fast as 35MM.
There were technological advances in film itself, with stocks getting better and other cameras becoming easier to use.
Basically, technology moved very quickly, and VistaVision did not.
The VistaVision format actually ended in 1961 with the western _One-Eyed Jacks_.
## VistaVision Over The Years
Of course, the format did not die. We're still seeing it used today, and it has been over the years as well.
For decades, it became the secret weapon of visual effects artists. The larger negative was perfect for optical compositing, as it could handle multiple layers of effects without significant image degradation.
It was famously used for the groundbreaking effects in the original _Star Wars_ and has been a supporting player ever since, even being used for some shots in 2023's _Poor Things_.
- YouTubewww.youtube.com
### The Auteur Revival
In recent years, we've seen auteur filmmakers bring this format back to the big screen for mainstream movie releases.
For _The Brutalist_ , director Brady Corbet and DP Lol Crawley used it to evoke the 1950s setting with period-accurate technology and to capture architectural details without the distortion of wide lenses.
And in _One Battle After Another_ , PTA chose VistaVision in search of a raw look of some of those '70s thrillers.
_One Battle After Another_ will actually be projected in VistaVision in just four theaters—in Boston, London, New York, and Los Angeles.
## What's The Difference Between VistaVision and IMAX?
We have a good explainer on IMAX, but I wanted to get into the nitty-gritty of what makes these movies a little different.
IMAX uses a very wide 70mm film strip that runs sideways in the camera, capturing a huge image. The picture it captures is generally taller than it is wide (a 1.43:1 aspect ratio).
Like IMAX, VistaVision also uses film that runs sideways, but it's a narrower 35mm film. This also gives it a bigger, clearer image than standard film.
While not as tall as IMAX, VistaVision films can be adjusted to fit various wide-screen sizes, typically appearing wider than they are tall (between 1.66:1 and 2:1).
Both IMAX and VistaVision offer such incredible visual quality that they can give people a strong reason to go to the movies instead of just streaming at home.
And that's a win for everyone.
- YouTubewww.youtube.com
## Summing It All Up
So there you have it, a little debriefer on what VistaVision is and why people are talking about it now. I'm excited to see what other directors are going to use it moving forward and to see if it makes a bit of a comeback, as we see more audiences driven to the theater for spectacle as well.
Let me know what you think in the comments.