In the 1950s, as a direct reaction to the film industry’s perceived threat from television, Hollywood invented a number of large-format processes designed to make the big screen even bigger. VistaVision, which was developed by Paramount in 1954, involved a camera system that involved transported 35mm  motion-picture film horizontally through the camera, exposing 24 8-perf frames per second, rather than the standard vertical 4-perf configuration of traditional movie cameras. VistaVision was used on a few features, including John Ford’s The Searchers (1956) and Alfred Hitchcock’s Vertigo (1958), but by the 1970s, VistaVision had largely been relegated to background-plate work ad in recent decades, barely even for that.

Recently,  VistaVision has been used in different commercials and short films, mainly because the large frame offers advantages even for projects finished in high definition by delivering to the telecine bay a negative with greater resolution and more color information, than images shot with a standard 35mm camera.

Producers have combined VistaVision’s significantly larger negative area with Vivid’s properties to manipulate the colors individually or collectively without building in noise.