Early Implementations
The original expectation was that CinemaScope would use a separate film for sound (see Audio below) thus enabling the full "silent" 1.33:1 aperture to be available for the picture with a 2:1 anamorphic sqeeze applied that would allow an aspect ratio of 2.66:1. When, however, it was found possible to add magnetic stripes to the film to produce a composite picture/sound print, the ratio of the image was reduced to 2.55:1. This reduction was kept to a minimum by reducing the width of the normal KS perforations so that they were nearly square, but of DH height, thus, the CinemaScope, or CS perforation was born, known colloquially as "fox-holes". Later still an optical soundtrack was added reducing the aspect ratio further to 2.35:1. This change also meant a shift in the optical center of the projected image, although all of Fox's CinemaScope films were made using a silent/full aperture for the negatives as was this studio's practice for all films, whether anamorphic or not.
In order to better hide so-called "negative assembly" splices, the ratio of the image was later changed by others to 2.39:1 and, finally, to 2.40:1, although all professional cameras are capable of shooting 2.55:1 (special 'Scope aperture plate) or 2.66:1 (standard "Full"/"Silent" aperture plate, preferred by many producers and all optical houses), and 2.35:1 or 2.39:1 or 2.40:1 is simply a hard-matted version of the others.
The Robe was the first film to start production in CinemaScope, a project that was selected by Fox because of its epic nature. During production, two other films, How to Marry a Millionaire and Beneath the 12-Mile Reef went into production. Millionaire finished production first, before The Robe, but because of its importance, The Robe was released first.
Fox utilized its influential people to promote CinemaScope. With the success of The Robe and How to Marry a Millionaire, the process enjoyed success in Hollywood. Fox licensed the process to many of the major film studios including Columbia, Warner Bros., Universal, MGM and Walt Disney Productions.
The Walt Disney Company was one of the first companies to license the CinemaScope process from Fox, and among the features and shorts they filmed with it, created one of the best-regarded examples of early CinemaScope productions with the live-action epic 20,000 Leagues Under the Sea. Walt Disney's first animated feature to use CinemaScope was Lady and the Tramp in 1955.
Due to initial uncertainty a number of films were shot simultaneously with anamorphic and regular lenses. Despite early success with the process, Fox did not stick to their claim of shooting every production with the process. CinemaScope as a trade name was reserved for "A" productions, while "B" productions in black and white commenced in 1956 at Fox under the trade name, "RegalScope", although RegalScope employed the very same optics as CinemaScope, but, usually, a different camera system (Mitchell BNCs at TCF-TV studios for RegalScope rather than Fox Studio Cameras at Fox Hills studios for CinemaScope).
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