American Cinematographer - March 1990 - 49

After receiving a

call from Circle

Vision, Iwerks rushed the 360
equipment to West Berlin and the
production crew was able to
capture unique footage at the
Wall. The scenes were cut into the

completed film to provide an
exciting climax. The six-track
sound features a score by Tanger¬
ine Dream.

What is believed to be
another "first" made its bow at
the celebrity-studded premiere: a
360 degree commercial!

The brief
plug for the picture's sponsor,
Beck's Beer, is appended at the
end of Das Panorama Berlin.
Of the various 360-de¬
gree systems that have been de¬
veloped over the past 90 years,
Imagine 360 is possibly the most
unusual. Instead of utilizing
multiple camera and projection
assemblages, it uses only one
65mm

camera

to record its im¬

ages and

they reach the screen via
single 70mm projector!
The unique camera/pro¬
jector system began as the brain¬
child of Ernst Heiniger, who pre¬
viously had worked with Walt
Disney and a famed artist/ visual
a

Page opposite:
This wide angle
shot of Imagine

effects master, Ub Iwerks, ASC,
on various
special projects. After
some 10 years of experimentation
and development at his own fa¬

360 in action in

a

temporary instal¬
lation in

Japan

shows the
seamless 360-

cility in Lucerne, Switzerland,
Heiniger introduced his Swissorama
360-degree movies. In

degree image.
Above: The

Dentsu Prox

1986 he collaborated with Iwerks

camera crew

Entertainment, Inc., of which was
Don Iwerks, son of Ub Iwerks, is

up a shot in Japan
for Nature in

Shikoku. Left: The
interior of the

co-founder.
Iwerks Entertainment
became exclusive manufacturer
of the system, which was re¬
named Imagine 360. In 1988, the
first Imagine 360 theater was in¬
stalled at the Shikoku Bridge
a

Expo in Kagawa, Japan. Follow¬
ing that successful showcasing,
Iwerks made minor changes in
the camera and redesigned the
projection equipment consider¬
ably, including a new lens. A
brighter, sharper and steadier
image was the result.
Imagine 360 is one of
several special venue and alterna¬
tive format systems being pro¬

sets

temporary theater
with house

lights up.

same company.
the Iwerks 870, the

and Dentsu in such far-flung
locations as Seoul, Tokyo,

Iwerksphere 870 (for domed
theaters), High Resolution 70mm,

Kagawa, Osaka, Poitiers, Paris,

duced
Others

by the
are

Iwerks 3-D, and other custom,

fully automated systems. The
date has created 13
special theaters for such compa¬
nies as Disney, MCA, Cousteau
company to

March 1990

Gothenburg, Berlin, Jacksonville,
Orlando, and Albuquerque.
The custom-made Imag¬
ine 360 camera has a 10-perforation pull down and uses a special
wide field lens. The lens is

American

Cinematographer

47



American Cinematographer - March 1990

Table of Contents for the Digital Edition of American Cinematographer - March 1990

American Cinematographer - March 1990 - 1
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American Cinematographer - March 1990 - 92
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