The Realife format was developed by the MGM Technical Department, in cooperation with the Loews Theater circuit (owned by MGM’s parent company), to address some of the constraints seen in the use of Fox’s Grandeur format. Grandeur used a 70mm negative and 70mm release print, with the primary goals of a larger image, a wider field-of-view in photography, a wide screen to better fill the stage in auditoriums and a sharper image with finer film grain. The main constraints were that it required a new film gauge and all-new equipment. Additionally, the projectors did not initially support 35mm projection, and in some cases, did not fit into already crowded projection booths.

MGM looked at the developments in widescreen being undertaken by the other studios and its Technical Department investigated what could be done to achieve most of the advantages of a widescreen format, but without the disadvantages of a larger film gauge for projection.

A promising approach had recently been the subject of an article in the Transactions of the Society of Motion Picture Engineers, which suggested that projected images with less visible film grain could be achieved by photographing on a larger negative and then using an optical reduction to a conventional 35mm film size (Powrie, 1924). This is because the film grain in a camera negative is typically large to increase its sensitivity to light, but the grain in a release print is smaller since a brighter printer lamp, or a longer exposure to the lamp, can be utilized.

Douglas Shearer of the MGM Technical Department led a study to investigate this possibility. They found that the average negative of 70 per cent density contained 25 silver clusters to each square thousandth of an inch (0.00064 square mm); but positive emulsion had four times as many clusters per unit area as this (Westerberg, 1930). Thus, by using a 70mm gauge during photography, many of the advantages of Grandeur could be retained, but by using an optical reduction to 35mm for release it avoided the most serious constraints for theaters. A reduced-height image, even if it was only half the height of a conventional full-silent frame, could still have a sharper and wider image with a more “immersive” scene when projected.

One area of contention during development was the aspect ratio as viewed in theaters. Many felt that the 2.00:1 aspect ratio of Grandeur was too wide, and that an aspect ratio of around 1.75:1 would be more appropriate (Weeks, 1930). Another issue was availability of wide-gauge cameras – most were either still in development or they were already on order to other companies.

Fortunately, a deal was reached with the Mitchell Camera Corporation to obtain some of the new 70mm model FC cameras. Serial numbers FC10 and FC12 were obtained on February 20, 1930, and FC11 and FC13 on March 31, 1930. A fifth camera, FC17, was later obtained on October 4, 1930 (Anon., 1988).

After testing the cameras and the quality of the reduction prints, MGM decided to use the technique on a feature film. The final decision on aspect ratio could be delayed and varying the cropping of the release print was still an option. Production began in the first week of April on Billy the Kid, starring John Mack Brown and directed by King Vidor (Variety, April 9, 1930).

An article describing the promising results of this approach appeared in the August issue of Motion Picture Projectionist (Finn, 1930) – the article doesn’t mention the producer, distributor, or exhibitor. However, another article published that month announced that MGM was using such an approach and was calling it “Realife” (Motion Picture News, August 23, 1930).

Frame images in the Motion Picture Projectionist article show an image cropped to an aspect ratio of about 1.75:1. The preference by MGM for this cropped image is also mentioned in a technical report written in July (Weeks, 1930). However, the decision was eventually made to retain the 2.00:1 aspect ratio for the release prints.

Following the filming of Billy the Kid, production began on MGM’s second Realife movie The Great Meadow in early September of the same year, and continued into November. John Mack Brown, who starred in Billy the Kid, also starred in The Great Meadow, although Charles Brabin was chosen as director. Although MGM indicated the possibility of six films being made in Realife, only one, Horse Flesh. was announced as starting production by November (Variety, November 12, 1930). Charles Brabin was also slated to direct this third Realife production. The movie was released in August 1931 under the new title Sporting Blood, but there is no confirmation that it was exhibited or even filmed for the Realife format.

Because of commercial concerns regarding competing widescreen formats and the added costs across the industry, a mandate was imposed by the Motion Picture Producers and Distributors of America, acting through the Hayes office, limiting Realife presentations to ten theaters: Paramount Theatre, Detroit; Loews Capitol Theatre, New York City; Publix Oriental Theatre, Chicago; Loews Aldine, Pittsburgh; Fox Theatre, Atlanta; Loews Stillman Theatre, Cleveland; Loews State Theatre, Providence; Loews Midland Theatre, Kansas City; Loews Columbia Theatre, Washington DC; and Fox Criterion Theatre, Los Angeles (Motion Picture News, October 25, 1930). Billy the Kid opened in Realife in Detroit on October 16, 1930 with openings at the other theaters following on, shortly after that. The feedback from audiences after viewing Realife were mixed and proved disappointing to MGM. In December, 1930, the Hayes office further decreed that there would be no use of widescreen, or even enlarging projection lenses, for at least two years (Variety, December 17, 1930). Although The Great Meadow was apparently previewed in Realife to members of the press, it was seemingly released in March, 1931 in conventional 35mm format. Sporting Blood was released the same way in August, 1931 (Variety, November 12, 1930). Neither the 70mm master negatives, nor the 35mm reduction prints, are believed to still exist for the known Realife features.