provided planetary models and a studio, and also assisted the crew. Special effects designers Jim Palmer and Barney Kaelin created laser patterns, the first in any IMAX film. The score was then edited by Richard R. McCurdy and mixed by Dan Wallin. It was recorded in 16 channels and then downmixed to three of the six channels on a 35 mm sound follower, which would play in sync with the picture in theaters. which completed on June 18, 1976. The film generally shies away from the Industrial Revolution's effects on the US in favor of displaying untouched nature. and the film was previewed to members of the US Congress on June 24 at the NASM's IMAX theater then Lockheed Martin). Two days prior to the preview, Freeman died in a helicopter crash while finding locations for a commercial at the Sierra Nevada.
To Fly! premiered on July 1, 1976, labeled as sponsored by Conoco. The New York City-based Lawrence Associates handled theatrical distribution. With underwriting concerns, the Smithsonian prohibited Conoco from using the Smithsonian's name for commercial uses, but granted "limited right" to use Conoco's name for it. The NASM also released pin-back buttons depicting a hot air balloon, manufactured by Horn Co.
The film was initially scheduled for a one-year run, as were other Bicentennial films, but was retained due to high demand. At times, there were 14 shows daily. The audio was digitally remastered with new sound effects, a new narrator, and alterations of the score such as trimming, editing, and adding choral sounds. The Lake Powell-Monument Valley scene and space sequence have their music changed, and two existential narrations from the space sequence were cut. During its 35th anniversary in 2011, screenings were charged at 50 cents for adults and 25 cents for children, the same price up to the 1980s; The Airbus IMAX Theater of the NASM's annex, the Steven F. Udvar-Hazy Center, has also been screening To Fly!.
Other venues
To Fly! spurred the mass construction of IMAX theaters in various countries. Michael Kernan of The Washington Post credited word of mouth to the popularity because advertising was mainly via brochures, newspapers, MacGillivray noted a 1981 Today interview of him and Thompson by Tom Brokaw as among the things that led to the film's continued popularity, who bundled it with Living Planet (1979)
Overall, the film has screened in over 24 countries, It has been translated to 10 languages and screened at around 150 theaters worldwide. It was also shown in festivals and the 2019 IMAX Victoria Film Festival who made a double feature with North of Superior titled "The Dawn of IMAX Filmmaking". Conoco also distributed To Fly! to schools, organizations, and non-IMAX theaters after September 6, 1976 (Labor Day),
Home media
thumb|upright=1.3|Comparison between the [[1.33:1 (dark blue), 1.44:1 (light gray), and 1.78:1 aspect ratios (the entire frame)|alt=refer to caption]]
In 1985, To Fly! was released on videocassette formats Betamax and VHS, while its LaserDisc was in 1991 by Lumivision, catalog number LVD9113. The latter, as well as a VHS of the anniversary edition by IMAX subsidiary DKP 70MM Inc., features Dolby Surround-encoded audio. On March 20, 2011, the first VHS was preserved at the Hagley Museum and Library and is freely available at their finding aid website. For the VHS, the windowboxed opening scene was zoomed to fill the entire screen, and a large portion of the opening drum roll was cut. Together with the LaserDisc and second VHS, the film is cropped to the television 1.33:1 aspect ratio, and included To Fly! anniversary edition, cropped to the widescreen ratio of 1.78:1. The multi-image scenes were re-adjusted, like the 36-duplicate shot which became 30.
Reception
Box office
To Fly! is regarded as the first blockbuster IMAX film. Over one million people watched it during its first year at the NASM, with approximately 80% of its 485 seats occupied. Over 15 million people have watched it at the museum; then 4.5 million the following year. In 1996, CBS This Morning dubbed To Fly! "the longest-running ticketed film in one location in history" and reported that it accumulated over 300 million views worldwide. maintain theaters, and/or fund IMAX films. to $100 million in 1999. Up to 2000, it earned $50 million in the NASM alone. It gained a net addition of $2.7 million up to early 2003, and another $11.3 million up to 2011. In between that, The Numbers reported over $86.6 million within the US and Canada and $34.1 million elsewhere, totaling at $120.7 million. This meant the film became the second-highest-grossing 1976 film behind Rocky, which earned $117.2 million, and above A Star is Born, which earned $63.1 million. MFF reported an overall $135 million gross as of December 2019, John Alderson of the Chicago Sun-Times summarized that "the subject charms its imagination, while the IMAX format goes right to the brink of sensory overload". The Washington Post called it an icon of the city The film was cited by scholars and authors as exemplifying the role of screen size in amplifying a film's kinesthetic thrills. with guides like the Michelin Green Guide and one by BioScience calling it a must-watch for those planning to visit the NASM.
The cinematography was praised for its innovativeness and vertiginous aesthetics,