The Evolution of the Cinema Lens—Part 2: The Cinema Revival: 1962–1974

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 116, No. 2-3, pp. 87–103
Abstract: This historical paper reviews the evolution of cinema lens designs over 60 years, including the recession of the cinema business from 1955 to 1963.1 As a product, cinema lenses are required for all cinema or studio film projection, but were always a sideline of larger optical firms and accorded secondary priority. Such lenses were judged by the on-axis resolution in the optics lab, yet cinema screen image resolution was always found to be only a fraction of the test result of the optics lab.
Publication Date: 2007-02-01
DOI: 10.5594/J16098
ISSN: Print: 1545-0279 | Electronic: 2160-2492
Link: https://doi.org/10.5594/J16098
Author(s): Glenn Berggren
bio
Glenn Berggren , a Life Fellow of SMPTE, entered the cinema equipment industry in 1962 by joining Kollmorgen Optical. After ten years with firms such as Chrysler (car engineering) and General Electric (stereosound), he accepted the challenge of nonmilitary marketing with Kollmorgen, the submarine periscope manufacturer. After two years with Kollmorgen he became the cinema industry “lens-man.” Because of complaints about faulty screen images, he sought answers from the specialists at Kodak, Century, Strong, Simplex, and other cinema equipment suppliers, but basic answers were not found. Between 1962 and 1974 he completed Ultra-Vision and other major R&D programs and inventions. After 1974, he led the development of three sets of new concepts for ISCO lenses. Berggren is solely responsible for six different cinema lens series. He moved to Wil-Kin/Atlanta, in 1968, to join the Ultra-Vision R&D program. He later went to ISCO in 1976, then Optical Radiation Corp. in 1980. Berggren obtained six Academy Technical Awards for screen image factors, two for Kollmorgen, one for Ultra-Vision HD, plus three for ISCO lens series. His primary contributions to the cinema industry are the permanent change in design concepts for all film cinema lens designs, the six lens series, the RP 40 test film, plus SMPTE performance standards of the Theatrical Projection Technology Committee, where he was chair on four separate occasions. He has authored over 100 articles and technical papers, and continues to work as a consultant.
Copyright: © 2007 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

Modulated Air Blast for Reducing Film Buckle [Active]
Improving 35mm Theater Projection [Active]
New Concepts and Picture Quality of a 35mm Curved-Screen Shopping Center Theater [Active]
On Optimizing Screen Curvature in a Front-Projection Indoor Theater [Active]
The Evolution of the Cinema Lens—Part 1: The Postwar Cinema: 1945 to 1962 [Active]
Effect of Gate and Shutter Characteristics on Screen Image Quality [Active]
1. See appendix for industry data. EXTERNAL
10. The Kollmorgen 7-element f/1. 7 had the usual single back lens, then a doublet then another doublet, but rather than a single front element, it had a third doublet, which raised the resolution and much increased the overall light throughput as compared to any other American cinema lens. EXTERNAL
11. The Kollmorgen Lens Selector was designed around the typical cinemas and lenses of the time. Lenses were 1 1/4 in. to 9 in. on the indoor side, with pictures sizes up to 50 ft. × 90 ft., and larger on the drive-in side. This design was copied about 1970 and marked with the name A. P. Goertz, a subsidiary of Kollmorgen, and copied again in 1973 by Schneider Corp. of America. EXTERNAL
12. The changes in the Kollmorgen lens line are as follows: The BX163 and BX 294 were dropped by 1965 . The new red B247 was exactly the same as the BX 241–6 element lens but with an f/2. 1 internal stop. The new red B297 was exactly the same as the BX 290–7 element lens but with an f/2. 0 internal top. The new blue B293 was the same as the BX 290–7 element lens with either an f/2. 4 or f/3. 0 internal stop, and only used by UltraVision. EXTERNAL
13. The KA 298 was a high-performance 4-element cylindrical anamorphic attachment provided by Kosaka, and allowing Kollmorgen to eliminate the “dependence” by dealers on the Bausch & Lomb anamorphic. EXTERNAL
14. All references to “Best Picture” are from 60 Years of Oscar by Robert Osborne , Abbeville Press : New York , 1989 . EXTERNAL
15. The original CinemaScope projection format image dimensions were 0. 715 in. × 0. 912 in. with 2X attachment (for horizontal magnification only). It was changed in 1954/55 to 0. 71 in. × 0. 839 in. with the same attachment. EXTERNAL
16. Goetz William , New Screen Techniques , Quigley Publishing : New York , p. 202 , 1953 . EXTERNAL
17. Berggren G. M. , Changing Requirements in Projection Optics, Motion Picture Exhibitor , Quigley Publishing : New York , pp. 20 – 22 , April 7, 1965 . EXTERNAL
18. The optical bench test was a magnified view through the lens to inspect an optical pattern for resolution. EXTERNAL
19. Burlinson John , Motion Picture Herald , Quigley Publishing : New York , pp. 33 – 36 , May 22, 1968 . EXTERNAL
20. TEDA (Theatre Equipment Dealers Association) and TESMA (Theatre Equipment Supply and Manufacturers Association), merged to form TEA, Theatre Equipment Association in 1971 . EXTERNAL
22. The set of light readings was the forerunner of SMPTE RP 98, with the light meter at three places in the middle row and three places in the rear row to three or more readings across the screen. EXTERNAL
24. Kloepfel Don V. , “Motion Picture Projection and Theatre Presentation Manual,” SMPTE , 9 East 41st Street, New York, NY , 10017 . EXTERNAL
26. The OptiVerter was created to eliminate the projection window. A sheet metal box with sound-proofing within, it included a two-mirror reflection system on each side (for two projectors), one fixed and one adjustable, with an operational control panel on the front. The name OptiVerter was registered. EXTERNAL
27. The idea of Skip-Frame was to reduce film cost. The film format was half-frame, like Techniscope, with the projector showing every other film frame. Then, when halfway through, the film was reversed. EXTERNAL
28. The split-adjustable mirror was in two halves, each separately adjustable. The mini-sized secondary mirror was one piece mounted on a separately adjustable post, on the opposite side of the vertical xenon bulb. It would take several hours to obtain a “best” adjustment, and was subject to simple mis-adjustment. EXTERNAL
29. Described in “Debut Deluxe in Savannah,” Berggren Glenn , Motion Picture Herald , Quigley Publishing : New York , pp. 18 – 20 , Feb. 12, 1969 . EXTERNAL
3. Mitchell Robert A. Robert A. Mitchell's Manual of Practical Projection , International Projectionist Publishing Co. : New York , pp. 123 – 131 , 1956 . EXTERNAL
30. Burlinson John , Motion Picture Herald , Quigley Pubishing : New York , pp. 29 – 32 , Nov. 5, 1969 . EXTERNAL
31. The “Projection Alignment and Image Quality Test Film” (35PA) RP 40 expanded its use nationally and internationally, to become the highest grossing test film for SMPTE, often back-ordered. EXTERNAL
4. The 1. 75 aspect ratio was for non-CinemaScope films with frames that had dimensions of 0. 472 in. × 0. 825 in. The 1. 66 aspect ratio was for non-CinemaScope films that had dimensions of 0. 497 in. × 0. 825 in. The older 1. 37 format dimensions were 0. 600 in. × 0. 825 in. The later 1. 85 format dimensions are 0. 446 in. × 0. 825 in. EXTERNAL
5. The General Precision Equipment Corp of New York City, NY (in 1960 ). EXTERNAL
8. The film emulsion absorbed over 95% of heat energy and, like a bi-metallic strip, bulged the same way. EXTERNAL
9. Carver E. K. Talbot R. H. Loomis H. A. , “Effects of High Intensity Arcs Upon 35mm Film Projection,” J. SMPE , XLI : 69 , July 1943 ; F. J. Kolb, “Air Cooling of Motion Picture Film for Higher Screen Illumination,” J. SMPE, LIII:635, Dec. 1949. EXTERNAL

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Glenn Berggren; The Evolution of the Cinema Lens—Part 2: The Cinema Revival: 1962–1974, SMPTE Motion Imaging Journal ( Volume: 116, Issue: 2-3, 2007); SMPTE, 2007. Available at https://doi.org/10.5594/J16098

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Glenn Berggren; The Evolution of the Cinema Lens—Part 2: The Cinema Revival: 1962–1974, SMPTE Motion Imaging Journal ( Volume: 116, Issue: 2-3, 2007); SMPTE, 2007. Available at https://doi.org/10.5594/J16098

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Glenn Berggren; The Evolution of the Cinema Lens—Part 2: The Cinema Revival: 1962–1974, SMPTE Motion Imaging Journal ( Volume: 116, Issue: 2-3, 2007); SMPTE, 2007
doi: 10.5594/J16098
url: https://doi.org/10.5594/J16098

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Glenn Berggren; <cite id="bib-10-5594-j16098">The Evolution of the Cinema Lens—Part 2: The Cinema Revival: 1962–1974</cite>, SMPTE Motion Imaging Journal ( Volume: 116, Issue: 2-3, 2007); SMPTE, 2007
<span class="doi">10.5594/J16098</span>
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