“Almost like a real web site”
 

IN7OMM.COM
Search | Contact
News | e-News |
Rumour Mill | Stories
Foreign Language
in70mm.com auf Deutsch

WHAT'S ON IN 7OMM?

7OMM FESTIVAL
Todd-AO Festival
KRRR! 7OMM Seminar
GIFF 70, Gentofte
Oslo 7OMM Festival
Widescreen Weekend

TODD-AO
Premiere | Films
People | Equipment
Library | Cinemas
Todd-AO Projector
Distortion Correcting

PANAVISION
Ultra Panavision 70
Super Panavision 70
 

VISION, SCOPE & RAMA
1926 Natural Vision
1929 Grandeur
1930 Magnifilm
1930 Realife
1930 Vitascope
1952 Cinerama
1953 CinemaScope
1955 Todd-AO
1955 Circle Vision 360
1956 CinemaScope 55
1957 Ultra Panavision 70
1958 Cinemiracle
1958 Kinopanorama
1959 Super Panavision 70
1959 Super Technirama 70
1960 Smell-O-Vision
1961 Sovscope 70
1962
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1966
Stereo-70
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
1974 SENSURROUND
1976 Dolby Stereo
1984 Showscan
1984 Swissorama
1986 iWERKS
1989 ARRI 765
1990 CDS
1994 DTS / Datasat
2001 Super Dimension 70
2018 Magellan 65

Various Large format | 70mm to 3-strip | 3-strip to 70mm | Specialty Large Format | Special Effects in 65mm | ARC-120 | Super Dimension 70Early Large Format
7OMM Premiere in Chronological Order

7OMM FILM & CINEMA

Australia | Brazil
Canada | Denmark
England | France
Germany | Iran
Mexico | Norway
Sweden | Turkey
USA

LIBRARY
7OMM Projectors
People | Eulogy
65mm/70mm Workshop
The 7OMM Newsletter
Back issue | PDF
Academy of the WSW

7OMM NEWS
• 2026 | 2025 | 2024
2023 | 2022 | 2021
2020 | 2019 | 2018
2017 | 2016 | 2015
2014 | 2013 | 2012
2011 | 2010 | 2009
2008 | 2007 | 2006
2005 | 2004 | 2003
2002 | 2001 | 2000
1999 | 1998 | 1997
1996 | 1995 | 1994
 

in70mm.com Mission:
• To record the history of the large format movies and the 70mm cinemas as remembered by the people who worked with the films. Both during making and during running the films in projection rooms and as the audience, looking at the curved screen.
in70mm.com, a unique internet based magazine, with articles about 70mm cinemas, 70mm people, 70mm films, 70mm sound, 70mm film credits, 70mm history and 70mm technology. Readers and fans of 70mm are always welcome to contribute.

Disclaimer | Updates
Support us
Testimonials
Table of Content
 

 
 
Extracts and longer parts of in70mm.com may be reprinted with the written permission from the editor.
Copyright 1800 - 2070. All rights reserved.

Visit biografmuseet.dk about Danish cinemas

 

Another Pioneer Passes
John Vorisek (1925-2001)

This article first appeared in
..in 70mm
The 70mm Newsletter

Written by: David Coles Issue 65 - July 2001

Those familiar with the technical credits of the Cinerama travel films will recognized the name Richard Vorisek (1918-1989). He did post-production sound mixing on those five titles. Richard's brother John (Who died January 8 this year, age 75) had an unaccredited, but significant, involvement with the original production, "This is Cinerama"

John Vorisek in 1993 in Leeds, England. Picture by
Robert Weisgerber.

Richard Vorisek started work at the New York City Reeves Sound Studios in 1936. John joined his brother there in 1943, becoming the seventh member of the staff. By the time John left the organization, in 1971, he was the president of a company with 250 on the payroll. John and his brother then formed their own postproduction sound studio; Trans/Audio Inc, which became "Todd-AO East" when that California based sound firm decided to set up an east coast branch in 1987.

After a lifetime in sound, John always recalled that the original Cinerama sound music playback he heard, of "This is Cinerama" score, was better than any sound recording he had ever heard - before or since. John himself played a crucial role in creating the sound effects of two important sequences in "This is Cinerama". For some reason, no suitable location six-track recording of the opening roller-coaster ride had ever been made. He mixed standard mono sound effects mono sound effects phonograph recordings of track noises, screams, and the famous "gong", to produce the sounds that "surround" one of the most significant sequences in motion picture history.

Creating the speedboat sounds for the "Cypress Gardens" sequence was a task involving much more time, patience and effort. Again, no multi-track location recordings had been made. John worked with mono 1/4" tape "wild" sound takes. (Some sources suggest that these were made at the waters of Oyster Bay rather than Florida.). Whatever the source of the sounds, John extracted the noises of about six distinct motors, which were transferred onto six different magnetic tracks for mixing purposes. Working at the Reeves Studio, John then painstakingly viewed all three picture reels of the "Cypress Gardens" sequence individually, on a hand operated viewer. He noted the footage at which significant action occurred in each panel e.g. when boats moved in or out of the frame, skiers fall in water, etc. Using this data, he mixed a six-track magnetic "Cinerama format" recording with the sounds of various motorboats matching their movements around the screen. To achieve the final sound-effects track, featuring motor boats, splashes, applause, whistles and other background noises, about 65 different tracks were created. The combined sound effects track was then taken to Oyster Bay where it was mixed with the music track and Lowell Thomas commentary.

Further in 70mm reading:




Internet link:

November 2002 update:

Hi Thomas, a correction regarding the Jack Vorisek obit. Last sentence, he went to Bradford with a companion and the widow of his brother Dick Vorisek. The reason I know this is that my wife and I accompanied them on the trip (his son and wife could not make it). See attachment of photos taken on the trip, Jack is the older man of the two. Could you correct the obit. for the record.

Best Always, Robert Weisgerber

 
John Vorisek in Pictureville's projection room 1993 with Bob Weisgerber. Picture supplied by Robert Weisgerber.

John was also involved with the folklore surrounding the first night of "This is Cinerama" September 30, 1952 at the Broadway Theatre. The show print consisted of sequences not finally joined together until the day before opening night. Starting at that Monday evening, John, and production assistant James Morrison, started work - back stage at the theatre - marking the reels of film with an edge numbering machine. About 2 AM on the 30th, the machine broke down. In an act of supreme hopefulness, John rang the Brooklyn manufacturer, and was flabbergasted to have his call answered by staff, who - by merest chance - had been staying late to complete inventory. About an hour later, with a new machine, John and James were able to resume their effort. By late afternoon the young men were exhausted and it was clear that the job, of numbering all eight reels, could not be completed in time for that evening's performance. John explained this to Hazard Reeves who promptly ordered them home to freshen up for the premiere. The film ran that night on the proverbial "wing and a prayer". Had the show been interrupted mid-reel, the lack of edge numbers would have prevented a synchronized re-start. (The film of one panel did, in fact break during the end credits sequence, but the loss of image was camouflaged by the early closing of the curtains).

The next day John returned to the theatre and completed the edge numbering in time for the first regular performance. Reeves had him remain at the theatre, as company rep., for a few weeks, but after this John had no further involvement with Cinerama productions. However, he retained very fond memories of the process, and his involvement with it. He leaves a wife and son who accompanied him to Bradford in June 1993 to attend the re-launching of Wallers Wonder.

Based on John Vorisek recollections recorded May 1991 and March 1997.
 
 
 
 
 
Go: back - top - back issues
Updated 21-01-24