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The article presents the author's insights on the brief history of cinema, and how movie theatres coped with aspect ratios. Topics discussed include ensuring that pictures are displayed correctly using digital projection, the method of producing a wider picture, and the manuals and published guides in 1990 for cinematographers for shooting in 1.66:1 ratio.

The article discusses development in projectioning of movies and evolution in presentation skills of projectionists. Topics discussed include initial use of the CinemaScope lens for widescreen movie projection during 1950s; masking of the projector "masked-frame" to enhance projection; first wider-screen projection of the movie "Shane" using a separate magnetic stereo soundtrack; focusing on the proscenium opening to decide ratio of projector; and introduction of wide-screen in Great Britain.

The article discusses the history and the impact of digital cinemas and television in the 20th century with the 2:35:1 formats. Topics include the development of the photographic lenses for media company Metro-Goldwyn-Mayer Studios Inc., the number of Scope films which become an important factor between profit and loss and the expectation of the wider television (TV) screens with extended definition systems.

The article discusses the efforts made by the entertainment technology company IMAX for the technological advancement of the motion picture industry. Topics discussed include the development of the 70mm film and IMAX film, the use of digital projectors, Light Emitting Diode (LED) cinema screens, and Panavision's Super 70 65mm cameras. It also mentions the success of premium large-format cinema screen (PLF).

The article discusses the need for bigger screens and cinemas being the platform for providing better film-viewing experience through Premium Large Formats. Topics include the variation in the sizes of screens in cinemas since the 1890s, use of projectors for better film-viewing, and digital projection.

The article focuses on the evolution of 3-D viewing of films of Great Britain. Topics discussed include use of mirror arrangement for viewing of motion pictures, cost effectiveness of anaglyphs to view stereoscopic 3-D images, use of polarized light for stereoscopic lantern slides, and the use of liquid crystal glasses for 3-D imaging.

The article traces the development of television and cinema in Great Britain. It offers a history showing the interconnection between the use and development of the television and the cinema. It also describes television sets during the 1930s and 1940s, their sound system and cathode ray tubes. It discusses the sale of the television by the end of 1937, its demise during World War II, and its rebirth after the war.

In this article, the author discusses aspects of archival projection, digital transfer, and presentation of films that have been associated with the history of motion pictures in Great Britain. Topics discussed include development of television and display of big screen electronic pictures in cinemas in 1932, use of an all-electronic system by EMI in generating and viewing the television pictures, and role of John Logie Baird in the development of British cinema screens.

The article presents information on the principle of anamorphosis which deliberately distorts the image to make it fit into a frame with a different shape and then restores it back again for its final presentation in its original proportions. Anamorphosis can be used as a screen changing shape method which helps makers of camera and projector lenses to eliminate optical aberrations in cinema pictures. It informs that this technique has been adopted by several cinematographers in their films.

The article discusses Cinerama and its aspect ratio. It mentions the visibility of junctions between panels of multiple film systems that were perfectly matched in terms of density and colour balance as well as shown through steady projectors with balanced illumination. It notes its failure to solve the issues concerning joins despite of its vibrating saw tooth jigolos which glazed over the frame edges in the projector gates. It points out its apparent ratio of 2.06:1 in theatres.

The article reports on the restoration of movie formats in Great Britain and Europe. It highlights the important role that films played in the world of television (TV) and video and discusses the digital revolution in 1970's that simplify the design of telecine and film scanners. It also tackles the difference in the nature of film and TV images, the history of telerecording and the important part of digital speed corrections in the restoration of silent films and improved their transfer to DVD.

The article discusses the history and development of film formats in Great Britain. It mentions the zoom projection which was first used in larger theaters as an artistic device and the magnascope which was used as widescreen device in theaters with balconies and to show films on larger screens. It also mentions that wide film activities were stopped due to the exhibitors' lack of funds.

The article provides an overview on the most efficient film restoration processes. It states that Haghefilm was one of the many laboratories that succeeded in making the most of digital film restoration techniques. Pathe's safety film format was primarily intended for showing prints made from 35 millimeter films, which only required a small reduction to fit its frames. It also discusses the popularity of Kodak's 16 millimeter gauge.

The article provides information on projection lens adaptors. According to the author, the most common is the use of cylindrical lens elements arranged to provide added extra degree of magnification in the horizontal plane. He added that another form of anamorphic system is the use of wedge-shaped prisms set at an angle to give the required amount of expansion. Meanwhile, prismatic attachment Tushinsky Superscope converts a masked-off portion to produce an anamorphic print.

The article comments on the promotional gimmicks implemented by movie theaters to attract movie patrons as observed by the author since 1950s. One of the gimmicks is the distribution of bogus newspaper supplements with headlines linked to a film's plot with theater staff acting as newspaper sellers. Famous on William Castle's roll of gimmicks was the luminous skeleton which floated over the audience during "House on Haunted Hill."

The article offers information on the famous dye transfer printing process and the 3-strip camera of Technicolor Inc. in Great Britain. According to the author, the process had held a virtual monopoly and high regards on the film industry during the 1930's and 1940. A festival was organized to bring back the high regard of Technicolor process and to enable enthusiast to relive the Golden Age of Technicolor.

The article reports on the comparison of the British color film, Dufaycolor and Cinecolor. Cinecolor was only a two-color process providing prints with a ferric-toned blue-green image and soundtrack on one side of the film's base. While, Dufaycolor was a full three-color additive process which enabled black and white film to reproduce color by exposing and projecting its images through a microscopic pattern of red, green and blue filter elements.

The article traces the development of the anamorphic optical system for motion picture projection. The system was first used by Twentieth Century-Fox Film Corp. in its CinemaScope technology. The large double-width image produced by CinemaScope was achieved using an anamorphic lens on both the camera and projector. The anamorphic process optically squeezes a wider picture on a standard 35mm film and produces the compression and expansion effect.

The article discusses the marketing potential of the 70mm theatrical prints. In keeping up the supply of 70mm products, prints began to be made by enlarging films, which is originally shot in 35mm. The first threat to use 70mm came in the 1970s, with the conversion of cinemas to multi-auditoria complexes, first by twining theatres, and then the building of groundup multiplexes. The approach of digital sound to the cinema appear to offer no threat to 70mm.

The article focuses on anamorphic lenses. These include the Gaumont-Kalee type "P" prismatic attachment, Carl Zeiss "Anamorphot" cylindrical attachment and the Mini-Hypergonar. Attachments of anamorphic lenses are made in different sizes to cover a wide range of backing lenses. All CinemaScope films must have high quality for production and color.

The article discusses the evolution of CinemaScope, a widescreen movie format. French Professor Henri Chretien developed a new film process based on lenses in 1920s he called Anamorphoscopse which has later formed the basis for CinemaScope. Twentieth Century Fox won the rights of the Anamorphoscopse. Fox has spent over 10 million dollars on the development of CinemaScope. Announcement of CinemaScope to the press has followed announcements from other studios to use the process in their films.

The article focuses on the issues discussed at BKSTS Image Preservation Seminars sponsored by Security Archives and organized by the British Kinematograph, Sound and Television Society Laboratory Committee held at the Conservation Centre of the National Film Archive in Berkhamsted, England. Speaker Tony Rowlands described the approach of Thames Television to preserving the results of television programme making. It tackles the preservation aspects of film stocks.

The article offers the author's experience as a British Broadcasting Corp. (BBC) projectionist. The author operates equipment for his job but his favorite is the Bell & Howell 609. He said that the projector was chosen because it can play two sizes of filmstrips. He was always careful when taking his head out of the lamphouse because his hair might get burned. He also remembered the old vacuum cleaner of BBC that was held on together by camera tape. He said that he enjoyed being a projectionist.

The article presents on the evolution of drive-in theater from passion pits to family entertainment centers. The drive-in theater was the creation of Richard Hollingshead, a garage owner in Camden, New Jersey. Its popularity came in the late 1950s, particularly in rural areas across the U.S. wherein some drive-in theaters added children's playgrounds and privacy for grown-ups. However, the greater privacy afforded to patrons gave drive-ins a reputation as immoral.

The article focuses on deeply-curved panoramic screens used by some commercial motion picture theaters. Pictureville Cinema was claimed to be the first to stage several films made from such type of screen in Bradford, England. However, deeply-curved screens were eventually phased out in commercial motion picture theaters due to their associated problems like image distortion. It adds that most theater owners and designers believe that such screens are not good for businesses.

The article provides information on the reconstruction of the Warner West End Theatre in London, England. David Bent, vice-president of Warner Bros. International Theatres, admits that the building needs to be demolished because the final layout is not ideal and difficult to operate efficiently. The new architectural design of the theater has been presented. Meanwhile, a comment for this proposed projection arrangement is also provided.

The article explains the technical details of the widescreen film process known as Todd-AO. This widescreen process was developed by Mike Todd and the American Optical Company in an effort to create a simplification of Cinerama . This was accomplished by changing the shape of the film image in order to counter the distortion effects of projecting it onto a curved screen.

Several letters to the editors are presented in response to articles in previous issues including the refurbishment of the lecture center of Brunel University that needs an immediate disposal of its Hortson Lanquedoc 16mm xenon projector, "Cobweb Corner," by Dion Hanson on the June issue, and an appreciation of the latest issue of the journal Cinema Technology.

The article provides information on the popularity of drive-ins in the U.S. Drive-in theaters were suited for movies which usually deal with exploitation such as science fiction and horror films. One of the company which produce films for drive in was the American International, founded by Roger Corman. Drive ins marked a decline during the 1970's wherein movie goers preferred new style multiplexes.

The article provides information on the Warner West End movie theaters in London, England. The theaters offer a combination of the luxury and style of West End flagship which attracts large audience. They also reflect changes in the traditional designs of movie theaters, including the transformation of traditional foyer, with its modest confectionary kiosk, into a spacious concession area.

The article focuses on the application of Magnascope process commercialized by Paramount Pictures Corp. which was first seen at the Rivoli Theater in New York City. This Magnascope version of a projector has a higher speed of 72° intermittent movement allowing more light to reach the screen. The Projected Picture Trust has entrusted its Magnascope lens collection to the National Film Theater who wished to recreate the growing screen experience.

The article features 70 millimeter motion picture film with 8-70 format for special projection processes. It is inferred that it has a growing demand for its production because it uses normal vertically running 70 millimeter film with 8-perforation pull-down which provides a wider distribution for special venue films for flat screens up to 80 feet wide. It can also be used for domed screens, however it is incompatible with Omnimax dome theater due to its smaller frame area.

The article discusses the procedure of framing non-anamorphic, wide-screen motion picture films. In movie theater screening, the frame is to be placed centrally in the aperture and adjusted slightly to allow the actors the correct headroom. If misframing occurs, the projectionists will have to use the Paramount framing index system to make a reference mark in the upper right hand corner of the frame.

The article focuses on the adoption of cyan dye sound tracks from Technicolor Inc. in Great Britain. During the 1940s almost all color films were made in Technicolor, with its three-strip color and dye-transfer prints. On two-color prints, the sound track was usually printed on the cyan side of the film. Dye transfer color prints were available from Technicolor until 1978.

The article focuses on the two drive-in outdoor cinemas in Alabama. The Piedmont Drive-In is still in operation which is an independent family business run by Cecil Quarles. It is open all year round but open only on weekends during the winter months. Admission price is cheaper than the standard motion picture theaters. On the other hand, the 411 Drive-In, which is owned by Emery Johnson, was built in 1953 and operated for 30 years until it closed in 1983.

The article reports on the decision of Odeon Cinemas to offer the Projected Picture Trust (PPT) an alternative space in its auditorium at Hammersmith in London, England. The aim of PPT was to preserve samples of the technical equipment involved in the motion picture industry. The author said that it depends on the generosity of other organizations because it has no permanent home of its own.

The article discusses the subject brought up during the British Kinematograph, Sound and Television Society film presentation seminar regarding the problems encountered by projectionists when displaying some imported reconditioned release prints in Great Britain. The release prints are mostly copies of American feature films released in the U.S. The article also provides ways to improve the condition of worn prints as well as to prolong their useful life.

Two letters to the editor are presented regarding technical problems on the use of 35mm motion picture films and a personal stance on the quality of motion picture films. The first reader addresses the difficulty of keeping the sound level even in projecting a 35mm print with Dolby stereo on the optical track. The second reader points out that the quality of films has been brought about by the limiting number of prints, crossovers, and transfer of film from auditorium to auditorium.