B&W photos kindly furnished by Joe Kelly of D-150, Inc.

Click on each image for full size


The angle and distance of these shots of the D-150 screen tend to minimize the depth of curvature. The middle of the screen is roughly 8 to 10 ft further back than the sides.

The view below shows how the screen was masked off for a 35mm/"Scope" presentation. 35mm/1.85 would use an even smaller segment. Per the D-150 licensing agreement, non-D-150 70mm would also use less than the full screen even though technically with D-150's lens they could have filled the screen just fine. But that was reserved for true D-150 movies. But only two features were ever made in D-150 so later on most D-150 houses ignored the edict and ran all 70mm--even the blow-up films of the late 1970's and early 1980's--on the full screen. A very impressive way to watch a movie!

The photo below, taken behind the screen will give you a better idea of the curvature. Note the side boards on the Altec speaker cabinets which serve to improve low frequency response.


Original D-150 installations used the legendary Norelco DP-70 or AA-II projector; later ones Norelco DP-75's. This DP-70 is equipped with an Ashcraft Super Corelite carbon arc lamp which was a common lamp for very large screens towards the end of the carbon arc era. River Oaks (in Calumet City, south of Chicago) was still running Core Lites into the early 1980's. Their second machine still had one up until a couple years ago..

At the heart of D-150 is the rectangular fronted Super Curvulon projection lens which corrected for projection on the deeply curved screen. Click HERE for a another view.


Compare these shots of the D-150 control panel with the Prototype Control Panel seen in a magazine article.


The UA-150 in Oak Brook, Illinois west of Chicago was later twinned eliminating D-150. It was razed in the mid 1980's. A parking structure now occupies the site.

Below, Dr. Richard Vetter, one of the principal designers of Dimension 150 camera and projection optics, discusses D-150 with Roger Ebert, after a screening of a new 70mm print of "Patton" at the Overlooked Film Festival Virginia Theatre, Champaign, Illinois. April 24, 2002.


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