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Ben-Hur finally went before the new cameras and lenses in late 1958. Nearly a year was required for principal photography. A total of seven new and modified cameras were assembled with six being shipped to Rome and one held in reserve in Culver City, California.
Director William Wyler and director of photography Robert L. Surtees (wearing hat) with the monster 65mm Panavision camera. The magnesium sound blimp on this camera weighed 300 pounds. The Roman soldiers are reflected off the optical glass covering the matte box. While not necessary for outdoor filming without sync sound, the blimp, once installed, generally remained a part of the camera for the duration. This is the production's "A" camera. The cosmetically beat up lens on the previous page was part of the lens set for this camera.
Camera 65 photographs Gratus' entry into Jerusalem, moments before Tirzah's clumsiness screws up the lives of all the principals in the picture for the next 3 hours.
Unquestionably one of the silver screen's most exciting, and technically perfect, action sequences. Two Camera 65 units, circa 1930 MGM Realife 70mm cameras modified for Panavision by Mitchell Camera Corp., photograph Messala and Ben-Hur racing to the death in the sand of the arena at Jerusalem. Note that Messala is racing at a disadvantage, having only three horses. No it's not done to fix the race, it's just to make it easier for the camera car to pace the chariots closely. Much of the photography of the chariot race was done at frame rates ranging from 16 to 20 frames per second to add to the excitement. Camera speeds were varied according to the direction the chariots travelled in relation to the camera. As the chariots would make the turn around the Spina, (that big thing in the middle of the arena with those gigantic statues), camera assistants would readjust the frame rate and shutter openings. William Wyler and Robert Surtees deservedly won Academy Awards for the film, but the race was directed by action specialists Andrew Marton and Yakima Canutt, and photographed by cinematographer Pietro Portalupi ASC, under the very close supervision of Robert Surtees. Wyler's touch is, however, very much present in the chariot race as he worked side by side with editor Ralph E. Winters to assemble this exciting sequence.
Messala (Stephen Boyd) hated Judah Ben-Hur so much that his eyes changed from brown to blue during the race.
What the set decorators couldn't provide, the talented matte artists did. Live action filmed at the Cinecitta studios in Rome was merged with glass paintings done in Culver City, California, to reproduce ancient Rome and the Middle East in a very convincing way. Unfortunately, the blue screen traveling matte work did not fare so well.
Read the complete text of the Ultra Panavision article written for
WideGauge Film and Video Monthly
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©1996 - 2004 The American WideScreen Museum
http://www.widescreenmuseum.com
Martin Hart, Curator
