Hubbry Logo
Roman KroitorRoman KroitorMain
Open search
Roman Kroitor
Community hub
Roman Kroitor
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Roman Kroitor
Roman Kroitor
Roman Kroitor
View on Wikipedia
from Wikipedia

Roman Kroitor (December 12, 1926 – September 17, 2012) was a Canadian filmmaker who was known as a pioneer of Cinéma vérité, as the co-founder of IMAX, and as the creator of the Sandde hand-drawn stereoscopic 3D animation system. He was also the original inspiration for The Force.[2][3] His prodigious output garnered numerous awards, including two BAFTA Awards, three Cannes Film Festival awards, and two Oscar nominations.

Key Information

Early life

[edit]

Roman Boghdan Kroitor was born in Yorkton, Saskatchewan, to Ukrainian immigrants Peter and Tatiana (Shewchuk), both of whom were teachers. Peter died when Roman was four; Tatiana moved the family to Winnipeg and continued teaching. Roman attended the University of Manitoba, graduating in 1951 with a Master of Arts in Philosophy.

National Film Board of Canada

[edit]

In 1949 and 1950, Kroitor attended the Summer Intern program at the National Film Board of Canada (NFB) in Ottawa. Upon graduation from university, he was hired full-time, working as a production assistant and later as a film editor.[4] His first film, 1953's Rescue Party[1] laid the foundation for his pioneering Cinéma vérité style, and he went on to produce influential films such as Lonely Boy, Glenn Gould: On the Record, Glenn Gould: Off the Record, and the concert film Stravinsky. By 1958, Kroiter was producing documentaries; by 1964, he was one of the producers leading the NFB into the production of fiction films.[5]

IMAX

[edit]

After seeing the ground-breaking NFB documentary Universe (1960), Stanley Kubrick tried to recruit Kroiter and Colin Low to work on 2001: A Space Odyssey. They declined because, with Hugh O'Connor and Tom Daily, they were working on a large-scale multi-screen film. This was In the Labyrinth, which the NFB exhibited at Expo 67 in Montreal. The film caused a sensation and, in the same year Kroitor and his friend and colleague, the director Graeme Ferguson, left the NFB as employees, but physically stayed, founding Multi-Screen Corporation (later IMAX Corp.) in the NFB's Montreal studios (with two other friends, Robert Kerr and engineer Bill Shaw).[6] The Multi-Screen process involved a purpose-built camera, and 70mm film projected horizontally rather than vertically, with each frame the size of a postcard.[7]

In 1970, for Expo 70 in Osaka, Kroitor produced the first IMAX film, the 17-minute Tiger Child, directed by Donald Brittain. In 1973, he returned to the NFB as a producer in charge of the Drama department, but continued to make IMAX films until his retirement. In 1990, he co-directed the first IMAX feature film, Stones at the Max. He also produced the first IMAX stereoscopic (S3D) film, We Are Born of Stars (anaglyph, 1985), and co-produced the first full-color OMNIMAX (IMAX Dome) S3D film, Echoes of the Sun (alternate-eye, 1990).[1]

SANDDE

[edit]

While working to create traditional (actuality) and early CG films in a stereoscopic format, Kroitor became frustrated with the lack of direct interaction between the desires of (right-brained) artists and the results on film, because everything had to pass through the (left-brained) mathematicians and programmers. He conceived of the SANDDE hardware and software system as a way to allow artists to directly draw, in full stereoscopic 3D, what they want the audience to see.[citation needed]

George Lucas and The Force

[edit]

Kroitor was credited by Star Wars creator George Lucas as being the origin of the concept of The Force, an important thematic element in the Star Wars films.[8] As reported by The Globe and Mail, Lucas first heard about "the force" in a conversation between Kroitor and Warren Sturgis McCulloch, an artificial intelligence guru, in 21-87, a 1963 collage film made by the NFB's Arthur Lipsett. Disagreeing with McCulloch's assertion that humans are nothing more than highly complex machines, Kroitor argued: "Many people feel that in the contemplation of nature and in communication with other living things, they become aware of some kind of force, or something, behind this apparent mask which we see in front of us, and they call it God."[1]

Personal life and death

[edit]

In 1955, Kroitor married (Graeme Ferguson's sister) Janet Ferguson; they had five children and lived in Montreal. On September 17, 2012, he died of a heart attack in his sleep at the age of 85.[1]

Filmography

[edit]

National Film Board of Canada[9][10][11]

Awards

[edit]

Paul Tomkowicz: Street-Railway Switchman (1953) [20]

Blood and Fire (1958)[22]

The Back-Breaking Leaf (1959)[23]

  • 1960 Cannes Film Festival, Cannes: Eurovision Grand Prize, Documentary Films, 1960
  • American Film and Video Festival, New York: Blue Ribbon Award, Agriculture, Conservation and Natural Resources, 1961
  • International Labour and Industrial Film Festival, Antwerp: Diploma of Merit, Films Dealing with the Problems of People at Work, 1963

The Cars in Your Life (1960)[24]

  • American Film and Video Festival, New York: Blue Ribbon, Citizen, Government & City Planning, 1963

Universe (1960)[25]

The Days of Whiskey Gap (1961)[26]

Lonely Boy (1962)[27]

The Living Machine (1962)[28]

The Hutterites (1964)[29]

Above the Horizon (1964)[30]

Nobody Waved Goodbye (1964)[31]

Legault’s Place (1964)[32]

Stravinsky (1965)[33]

Bargain Basement (1976)[34]

For Gentlemen Only (1976)[36]

One Man (1977)[37]

  • ACTRA Awards, Montreal: Film of the Year, 1978
  • Film Festival Antwerpen, Antwerp: Second Best Film of the Festival, 1978
  • Film Festival Antwerpen, Antwerp: Honorable Mention by the Press Jury, 1978

Henry Ford's America (1977)[38]

  • International Emmy Awards, New York: Best Non-Fiction Television Film, 1977
  • Golden Gate International Film Festival, San Francisco: Special Jury Award for Outstanding Achievement - Film as Communication, 1977
  • Columbus International Film & Animation Festival, Columbus, Ohio: Chris Bronze Plaque, Social Studies, 1978
  • HEMISFILM, San Antonio TX: Bronze Medallion for the Best Film, Documentary Over 27 Minutes, 1978
  • American Film and Video Festival, New York: Red Ribbon, Features: History & Economics, 1978
  • U.S. Industrial Film Festival, Elmhurst, Illinois: Silver Screen Award for Outstanding Creativity in the Production of Audio-Visual Communications in International Competition, 1978
  • Chicago International Film Festival, Chicago: Certificate of Merit, 1977
  • APGA Film Festival, Washington, DC: Honorable Mention, 1977

Voice of the Fugitive (1978)[39]

Teach Me to Dance (1978)[40]

  • Child of our Time Festival, Milan: Diploma of Honor, 1979

Revolution's Orphans (1979)[41]

Why Men Rape (1979)[42]

  • American Film and Video Festival, New York: Red Ribbon, Mental Health, 1981

Bravery in the Field (1979)[43]

Challenger: An Industrial Romance (1980)[44]

  • Grierson Awards, Toronto: Grierson Award for Outstanding Documentary, 1981
  • Columbus International Film & Animation Festival, Columbus, Ohio: Chris Bronze Plaque, 1981
  • Golden Gate International Film Festival, San Francisco: Silver Award for Second-Best Film of the Festival, 1980
  • Golden Gate International Film Festival, San Francisco: Best in Category: Promotion, Commercial Sales and Public Relations, 1980
  • Information Film Producers of America, Los Angeles: Gold Cindy Award, Best of Show, 1981
  • U.S. Industrial Film Festival, Elmhurst, Illinois: First Place, Gold Camera Award, 1981
  • Bijou Awards, Toronto: Best Documentary, 1981
  • Festival of Technical Films and Films on Industrial Design, Budapest: Special Prize, Informatory and Product-Propaganda Films, 1982
  • American Film and Video Festival, New York: Honorable Mention, Management Training Films, 1982

Nose and Tina (1980)[45]

Footnotes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Roman Kroitor

View on Grokipedia
from Grokipedia
Roman Kroitor (December 12, 1926 – September 17, 2012) was a Canadian filmmaker, producer, and technological innovator renowned for his pioneering work in documentary filmmaking and for co-founding the , which revolutionized large-format cinema. Born in , , to Ukrainian immigrant parents, Kroitor grew up in , where he attended Mulvey and Gordon Bell schools before earning a in philosophy and psychology from the in 1951. He joined the (NFB) in the late 1940s, quickly establishing himself as a key figure in the organization's innovative documentary unit during the 1950s and 1960s. There, he directed landmark films such as Paul Tomkowicz: Street-Railway Switchman (1954), which explored the life of a solitary worker through intimate, observational techniques, and contributed to the influential Candid Eye series (1958–1959), a foundational effort in that emphasized unscripted, real-time observation using lightweight cameras and synchronized sound. Kroitor's documentaries often captured cultural and artistic figures with groundbreaking intimacy, including Lonely Boy (1962), a portrait of that was nominated for an Academy Award, Stravinsky (1965), which profiled the composer , and the NFB classic (1960), a poetic exploration of space that influenced Stanley Kubrick's 2001: A Space Odyssey and NASA's filmmaking approaches. He also ventured into fiction, producing the influential coming-of-age drama Nobody Waved Goodbye (1964), considered one of Canada's first feature-length films in the new wave style. For in , Kroitor co-directed the multi-screen spectacle In the Labyrinth, advancing experimental cinema formats. In the realm of technological innovation, Kroitor co-developed the IMAX film system in the late 1960s at the NFB's Montreal studios, co-founding Multi-Screen Corporation (later IMAX Corporation) with colleagues like Robert Kerr and Graeme Ferguson; their debut project, Tiger Child (1970), premiered at the Osaka World's Fair and marked the birth of giant-screen cinema. He further innovated with the first IMAX 3D film, Transitions (1971), and the first IMAX HD production, Momentum (1992), while later inventing the Sandde system for hand-drawn stereoscopic animation. Kroitor's career spanned over 100 credits, including IMAX hits like Rolling Stones at the Max (1991), and earned him multiple Canadian Film Awards, several Oscar nominations, and the 2001 Nation Builders Award from the Canadian Film and Television Production Association. He passed away near Montreal, survived by his wife Janet and five children, leaving a legacy as a relentless inventor whose work expanded the boundaries of both storytelling and cinematic technology, as noted by NFB commissioner Tom Perlmutter: "Roman Kroitor was a remarkable man who has made out-sized contributions to cinema as a filmmaker, producer and creative and technical innovator."

Early Life and Education

Family Background and Childhood

Roman Kroitor was born on December 12, 1926, in , , to Ukrainian immigrants Peter and Tatiana Kroitor. His father, Peter, had emigrated from and worked as a teacher, while his mother, Tatiana (née Shewchuk), was also an educator known for her resourcefulness. When Kroitor was four or five years old, his father died, leaving Tatiana to raise him and his older sister alone. To support the family, Tatiana took teaching positions in one-room schools across the rural Prairies, resulting in a transient childhood marked by frequent moves within Saskatchewan and surrounding areas. These early years in isolated rural communities exposed young Kroitor to the rhythms of prairie life, fostering a deep attentiveness to everyday human experiences and environments. The family's Ukrainian , rooted in his parents' immigrant background, imbued Kroitor's upbringing with traditions and a sense of communal resilience amid hardship. This heritage likely contributed to his worldview, emphasizing observation of social and cultural dynamics that would later inform his creative pursuits. By the time the family settled in during his high school years, where he attended Mulvey School and Gordon Bell High School, these formative experiences had honed Kroitor's innate ability to keenly observe and interpret the world around him.

Academic Career and Entry into Filmmaking

Kroitor pursued higher education at the , where he completed a in philosophy and psychology in 1951. His studies immersed him in existential and psychological theories, which profoundly shaped his intellectual framework and later influenced his pioneering approach by emphasizing authentic human experiences and self-reflexive storytelling in documentaries. These academic pursuits provided a foundation for probing the nature of reality and perception, concepts central to his filmmaking philosophy. A pivotal moment in Kroitor's transition to cinema occurred during his university years when he viewed an experimental film by avant-garde artist , igniting his passion for the medium and redirecting his career ambitions toward documentary filmmaking. This exposure, combined with his philosophical background, highlighted cinema's potential as a tool for exploring psychological depth and existential themes, distinct from traditional narrative forms. His Ukrainian heritage, rooted in his family's immigrant experiences, subtly informed this interest in capturing unvarnished human stories. During his university years, Kroitor participated in the National Film Board of Canada's (NFB) summer intern program in 1949. Following his graduation in 1951, he relocated to and secured a full-time position as a . By 1952, he had advanced to directing his debut production, marking his formal entry into the industry and setting the stage for his innovative contributions at the NFB.

Career at the National Film Board of Canada

Early Work and Cinéma Vérité

Roman Kroitor joined the (NFB) in 1949 as a summer intern while completing his in and at the , where his studies influenced his later interest in capturing authentic human experiences on film. Upon graduation, he was hired full-time as a production assistant and soon advanced to roles as an editor and researcher, working under the enduring influence of , the NFB's founding commissioner whose emphasis on socially purposeful documentaries shaped the institution's ethos even after his departure in 1945. Kroitor's early contributions at the NFB focused on refining documentary techniques to reveal everyday realities, marking his transition from academic to practical . In 1954, Kroitor directed and co-wrote Paul Tomkowicz: Street-Railway Switchman, a seminal short documentary that portrayed the daily life of a Polish immigrant working as a streetcar switchman in , using innovative shots and ambient sound to emphasize the subject's personal narrative. This film, co-edited and co-produced with Tom Daly, earned widespread acclaim and is regarded as an early precursor to for its intimate, observational approach. Kroitor's work on this project honed his skills in portraying ordinary labor with dignity, drawing from his philosophical background to explore themes of alienation and adaptation in post-war . Kroitor played a pivotal role in the NFB's Unit B during the late , collaborating closely with Tom Daly, cinematographer Wolf Koenig, and director Colin Low on the Candid Eye series (1958–1959), a groundbreaking project comprising 14 films that experimented with principles. As co- on several episodes, including Blood and Fire and The Days Before Christmas, Kroitor helped develop techniques such as handheld lightweight cameras, natural lighting, and unscripted observation to capture spontaneous without artificial intervention or narration. These methods, pioneered amid technological advances in portable sync-sound equipment, aimed to document reality objectively, fostering a shift from staged reconstructions to immersive, real-time encounters that influenced global documentary practices. The series' emphasis on ethical, non-intrusive filming underscored Kroitor's commitment to vérité as a tool for revealing unfiltered social truths.

Notable Productions

Roman Kroitor's notable productions at the (NFB) in the exemplified his pioneering approach to documentary filmmaking, blending techniques with innovative visual and narrative styles to capture both human subjects and abstract concepts. One of his landmark works was Lonely Boy (1962), co-directed with Wolf Koenig, which offered an intimate portrait of teenage singer during his rise to fame in the early . The film employed handheld cameras and direct observation to reveal the isolation behind Anka's public persona, capturing unguarded moments of adulation and solitude that foreshadowed the challenges of celebrity. This approach earned Lonely Boy widespread critical acclaim, including a nomination for the Academy Award for Best Short Subject (Live Action Subjects) in 1963, as well as the Canadian Film Award for Film of the Year. Kroitor also produced and co-directed Universe (1960) with Colin Low, a groundbreaking 29-minute documentary that explored the cosmos through stunning animations, time-lapse photography, and poetic narration by Douglas Rain, evoking a sense of awe at the scale of the universe. The film's innovative blend of scientific accuracy and artistic wonder—depicting planetary motions and stellar phenomena with unprecedented visual poetry—influenced subsequent space-themed cinema, notably inspiring Stanley Kubrick's visual style and narrative structure in 2001: A Space Odyssey (1968), where Kubrick drew from its cosmic imagery and philosophical tone during his research phase. Universe received the Canadian Film Award for Film of the Year and Best Theatrical Short in 1961, the BAFTA Award for Best Animated Short Film, and a Jury Prize for Animation at the 1960 Cannes Film Festival. In Stravinsky (1965), co-directed with Wolf Koenig and produced by Kroitor, the filmmaker crafted a 49-minute portrait of composer in his later years, interweaving interviews, rehearsal footage, and performances to highlight the maestro's creative process and personality. The documentary masterfully synchronized Stravinsky's music—such as excerpts from and —with dynamic visuals of sessions and personal reflections, demonstrating Kroitor's skill in merging auditory and visual elements to convey the essence of artistic genius. This work underscored his versatility in profiling cultural icons while maintaining a vérité-inspired authenticity. These productions not only garnered international recognition but also solidified Kroitor's reputation as a key figure in advancing cinema's expressive potential during the .

Innovation in Large-Format Cinema

Development and Founding of

In 1965, while working at the (NFB), Roman Kroitor proposed the development of a multi-image for Montreal's , aiming to create an immersive cinematic experience that would push the boundaries of traditional filmmaking. This initiative stemmed from his interest in large-scale projections and multi-screen formats, building on earlier NFB experiments with innovative techniques. Kroitor's concept was selected by the NFB, leading to collaborative planning with colleagues to realize a project that would integrate multiple visual elements for greater audience engagement. The proposal culminated in the creation of In the Labyrinth in 1967, a groundbreaking five-screen immersive film presented at Chamber III of Expo 67's pavilion. Directed and produced by Kroitor alongside Colin Low and , the work utilized five screens in a arrangement to project synchronized images retelling the Greek myth of while symbolizing modern human experiences. This multi-projector setup, employing 35mm and 70mm stocks with lamps for large-format projection, tested the feasibility of expansive visuals and from over 1,200 speakers, immersing viewers in a labyrinthine environment that highlighted the potential for cinema to envelop audiences spatially and emotionally. Despite technical challenges like , In the Labyrinth demonstrated the viability of large-scale, multi-image presentations and influenced subsequent advancements in projection technology. Inspired by the success of In the Labyrinth, Kroitor co-founded Multiscreen Corporation in September 1967 with filmmakers Graeme Ferguson and Robert Kerr, as well as engineer William C. Shaw, to commercialize these innovations beyond the NFB. The company, initially focused on multi-screen systems for expositions, was later renamed to reflect its emphasis on "maximum image" projection. A key technical breakthrough was the development of the 15/70 format, which used 70mm film run horizontally through the camera and with 15 sprockets per frame, allowing for an image area ten times larger than standard 35mm film without visible grain on massive screens up to eight stories high. This innovation, combined with a rolling-loop projection system for smooth playback, addressed limitations in resolution and stability, establishing as a pioneering large-format cinema technology.

Key IMAX Projects

Roman Kroitor played a pivotal role in the early production of films following the format's inception, serving as a and creative force behind several landmark projects that demonstrated the technology's potential for immersive storytelling. His debut IMAX effort was Tiger Child (1970), a 17-minute documentary directed by Donald Brittain, which premiered at in , , as part of the Fuji Group Pavilion. This film marked the international introduction of , featuring a rotating audience platform synchronized with the projection to enhance the experiential quality, and it showcased global cultural motifs through footage from locations around the world. In 1973, Kroitor returned to the National Film Board of Canada (NFB) as a producer in charge of the Drama department, where he continued to spearhead content amid his broader responsibilities. One of the earliest outcomes was North of Superior (1971), directed by Graeme Ferguson, which served as the inaugural film for the world's first permanent installation at Toronto's Ontario Place . This 18-minute travelogue celebrated the natural landscapes north of , emphasizing the format's ability to capture vast, dynamic environments in unprecedented detail. Kroitor's involvement extended to other significant IMAX productions in the 1970s and 1980s, including Olympic-themed content tied to NFB initiatives that highlighted athletic and cultural narratives in large-format. A notable later example from this period was Hail Columbia! (1981), co-produced with Ferguson, which documented the Space Shuttle program's maiden voyage, blending educational science with thrilling visuals to underscore IMAX's suitability for inspirational documentaries. Kroitor also advanced IMAX 3D technology, producing Transitions (1986), the first IMAX 3D film, screened at in , which introduced stereoscopic imaging for flat-screen IMAX. Later, he produced Momentum (1992), the first IMAX HD film shot at 48 frames per second, featured at Expo '92 in . Under Kroitor's guidance, IMAX expanded into dome projections, known as IMAX Dome or OMNIMAX, beginning with the format's debut installation in 1973 at the Reuben H. Fleet Science Center in , . This adaptation curved the screen to 180 degrees for planetarium and educational venues, enhancing immersion for astronomy and nature films; Kroitor contributed to key dome projects like We Are Born of Stars (1985), the first 3D OMNIMAX production, which explored cosmic origins and was written and produced by him. Despite these advancements, early IMAX projects faced substantial challenges, including the high costs of 70mm film stock, specialized cameras, and custom projectors, which limited production scale and required innovative financing through expos and institutions. These hurdles were offset by the format's profound educational impact, as the immersive visuals fostered deeper audience engagement with , history, and nature; by the 1980s, IMAX had produced over 20 films, many under Kroitor's influence, establishing it as a vital tool for in museums and science centers worldwide.

Other Contributions and Collaborations

SANDDE System

In the late , Roman Kroitor developed the SANDDE (Stereo Animation Drawing Device) system as a proprietary tool for , enabling hand-drawn stereoscopic 3D animation directly within immersive large-format environments. Unveiled in November 1997, SANDDE was conceived to bridge techniques with 3D stereoscopy, allowing artists to create content without relying on complex computer modeling or layering methods typically used in digital animation. Kroitor, drawing from his experience in innovations, collaborated with the (NFB) and animators such as Munro Ferguson to refine the system over several years, resulting in its integration into IMAX's production pipeline. At its core, SANDDE functions through a handheld operated within a , which captures the animator's movements as precise 3D coordinates to generate wireframe-like stereoscopic lines in real-time. Animators wear 3D glasses to visualize and sculpt these lines directly in virtual space, mimicking the tactile process of manipulating a , while a workstation simulates the final theater projection for immediate feedback. This intuitive interface eliminates the need for keyboards or mice, emphasizing fluid, body-driven input that translates hand gestures into immersive depth effects, with complementary software like handling for smoother sequences. The system's design prioritizes artistic expressiveness, allowing for dynamic actions that exploit 's massive screens—up to three stories tall—to emphasize scale and motion toward the audience. SANDDE found primary application in IMAX 3D films for creating hand-drawn effects that enhance spatial depth without traditional 2D layering, as demonstrated in the 1997 short Paint Misbehavin', a 2-minute comedy executive-produced by Kroitor and directed by Peter Stephenson. This debut piece, featuring lively cartoon characters, showcased SANDDE's ability to produce vibrant stereoscopic sequences and was subsequently embedded in all new IMAX 3D prints, including the 2000 anthology CyberWorld 3D, where it animated the "Cyber Critter" segment. Later uses included NFB projects, such as animator Claire Blanchet's stereoscopic short based on Heather O'Neill's fiction, highlighting its versatility for educational and artistic content. The impact of SANDDE lay in revolutionizing stereoscopic animation by making 3D creation more accessible to traditional artists, fostering innovative in 's educational and narrative films without the barriers of mathematical rendering. By enabling direct, intuitive 3D drawing, it expanded the medium's potential for immersive experiences, influencing subsequent hand-drawn 3D techniques and earning recognition for advancing animation's artistic frontiers. Supported by facilities like Janro Imaging Lab, SANDDE's legacy endures in specialized productions, underscoring Kroitor's late-career focus on human-centered technological innovation.

Work with George Lucas

Kroitor's ideas on universal energy profoundly influenced 's conceptualization of "the Force" in Star Wars (1977), portraying it as a binding metaphysical power that permeates all life. Lucas has acknowledged drawing inspiration from Kroitor's philosophical notions, transforming them into a central narrative element that blends with technological . A key source of this influence was an audio clip from Kroitor's earlier production 21-87 (1963), where his voice articulates a vision of interconnected energy underlying existence: "Many people feel that in the contemplation of nature and in communication with other living things, they become aware of some kind of force, or something, behind this apparent mask which we see in front of us." This excerpt, sampled in Arthur Lipsett's , resonated with Lucas, echoing in the mystical and energetic themes of the Star Wars saga. Kroitor's broader ideas on the intersection of spirituality and technology also shaped Lucas's thematic approach, emphasizing a harmonious balance between human intuition and scientific advancement in storytelling. This indirect influence highlighted Kroitor's role in bridging documentary innovation with Hollywood's epic narratives.

Later Years and Legacy

Continued Innovations

In the later stages of his career, Roman Kroitor played a pivotal role in advancing IMAX's 3D technology, focusing on immersive simulations that captured complex natural and cosmic phenomena. His work helped pioneer IMAX 3D formats, including early films like Transitions (1971) and Into the Deep (1994), which demonstrated the potential for audiences to experience environments inaccessible to traditional filmmaking. Kroitor's efforts also contributed to IMAX's international growth, as the company expanded its theater network to 643 locations across 52 countries by early 2012, with a strong emphasis on educational and scientific content to broaden access to high-impact documentaries. His contributions exemplified this focus, prioritizing content that educated viewers on environmental and scientific themes while leveraging IMAX's scale for global distribution. Building on his National Film Board roots, Kroitor's influence persisted in IMAX's commitment to documentary filmmaking that blended with large-format technology, including environmental themes underscoring Canadian heritage through explorations of natural landscapes and ecological stewardship. These works continued his tradition of using cinema to promote awareness of Canada's environmental legacy. Kroitor earned recognition as a technical innovator who bridged analog techniques with emerging digital projections in large-format cinema, ensuring IMAX's relevance across technological shifts. His contributions sustained the format's evolution, influencing its adoption in both artistic and scientific applications.

Personal Life and Death

Roman Kroitor, of Ukrainian descent, married Ferguson in December 1955 after meeting her through connections at the National Film Board in , where she worked at the National Design Centre; was the sister of filmmaker Graeme Ferguson, Kroitor's longtime collaborator. The couple settled in and raised five children: Paul, Tanya, Lesia, Stephanie, and Yvanna. In his later years, Kroitor faced health challenges that contributed to his passing. He died of a heart attack in his sleep on September 17, 2012, at the age of 85, near Mont-Tremblant, Quebec. Following his death, tributes from the National Film Board of Canada emphasized Kroitor's humane spirit, with NFB commissioner Tom Perlmutter describing him as a "remarkable man" and a "warm and humane presence" whose loss was a "terrific" blow to Canadian and global cinema. Filmmaker Peter Raymont similarly recalled Kroitor's focus on "the heart of Canada, the heart of the human being," reflecting the personal depth that underpinned his professional life.

Professional Output

Filmography

Roman Kroitor's extensive filmography includes over 100 credits as director, producer, writer, and editor, primarily with the (NFB) and . The following table presents 25 of his most significant contributions, selected for their innovations, awards, or influence on documentary and large-format filmmaking, organized chronologically. Roles and formats are specified where applicable, with brief annotations on their importance.
YearTitleRole(s)FormatAnnotation
1954Paul Tomkowicz: Street-Railway SwitchmanDirector, co-writer, co-editor, co-producerStandard (short documentary)Kroitor's early NFB directorial debut, this film captured the daily life of a Ukrainian immigrant worker using handheld cameras, foreshadowing the cinéma vérité style that defined his career.
1962The Living MachineDirector, co-producerStandard (short)An experimental NFB exploration of electronics technology and artificial intelligence, part of the Explorations series, showcasing Kroitor's interest in science and visual storytelling.
1957City of GoldCo-director (with Wolf Koenig)Standard (short documentary)This innovative use of archival photographs and animation to depict the Klondike Gold Rush won the Canadian Film Award for Film of the Year, highlighting Kroitor's skill in historical reconstruction.
1958Blood and FireCo-producer (with Wolf Koenig)Standard (Candid Eye series)Part of the groundbreaking Candid Eye series, this film examined the Salvation Army's work with direct observation techniques, advancing NFB's direct cinema approach.
1960UniverseCo-director (with Colin Low), producerStandard (short documentary)A poetic journey through space that won the 1961 BAFTA for Best Animated Film and influenced Stanley Kubrick's 2001: A Space Odyssey with its cosmic visuals and narration.
1962Lonely BoyCo-director (with Wolf Koenig)Standard (short documentary)A landmark cinéma vérité portrait of teen idol Paul Anka's rise to fame, demonstrating Kroitor's mastery of unobtrusive filming and emotional intimacy.
1964Above the HorizonCo-director (with Hugh O'Connor), co-producerStandard (short)This NFB film on oil rig workers won the Canadian Film Award for Best Children’s Film, praised for its dramatic tension and authentic depiction of industrial labor.
1965StravinskyDirector, producerStandard (short documentary)An intimate portrait of composer Igor Stravinsky in his final years, which earned the Canadian Film Award for Best TV Information Film for its innovative sound design and observation.
1967In the LabyrinthCo-director (with Colin Low and Hugh O'Connor)Multi-screen (experimental, later adapted to IMAX)Created for Expo 67, this immersive film used multiple projections to simulate a labyrinthine journey, serving as a precursor to IMAX technology and large-format immersion.
1970Tiger ChildProducer, writerIMAX (short)The inaugural IMAX production for Expo 70 in Osaka, this 17-minute film on Japanese culture demonstrated the format's potential for expansive visuals and global storytelling.
1971North of SuperiorProducerIMAX (short travelogue)An early IMAX showcase of Ontario's landscapes, co-produced by Kroitor and IMAX founders, it highlighted the format's ability to capture vast natural scenery with unprecedented detail.
1972Code Name: Running JumpDirector, producerStandard (short documentary)This NFB film documented an athlete's preparation for the Olympics, emphasizing Kroitor's focus on personal achievement and behind-the-scenes realism.
1974Circus WorldDirector, producer, co-editorIMAX (short)Kroitor's directorial effort for IMAX captured the spectacle of Ringling Bros. circus, utilizing the large format to immerse audiences in dynamic performances and animal acts.
1974Man Belongs to the EarthCo-producer (with Graeme Ferguson)IMAX (short)Part of Expo 74's environmental theme, this film explored humanity's relationship with nature, leveraging IMAX for awe-inspiring shots of global ecosystems.
1976Glenn Gould: Off the RecordCo-director (with Bruno Boudrias)Standard (documentary)A candid look at pianist Glenn Gould's creative process, continuing Kroitor's cinéma vérité tradition with intimate interviews and rehearsal footage.
1978The PointExecutive producerStandard (short animated)This NFB animated film on environmental themes, directed by Gail Karwoski, benefited from Kroitor's oversight during his NFB leadership, promoting innovative animation techniques.
1982Hail Columbia!ProducerIMAX (documentary)Chronicling the first Space Shuttle Columbia launch, this film showcased IMAX's high-speed capabilities for capturing rocket launches and space exploration drama.
1985SkywardProducerIMAX (short)An IMAX aviation documentary that used aerial footage to evoke flight's exhilaration, produced during Kroitor's return to the company as a key innovator.
1990The Last BuffaloProducerIMAX 3DAn environmental documentary on Indigenous buffalo hunts, directed by Stephen Low, advancing stereoscopic technology in large-format cinema.
1991Rolling Stones at the Max (also known as At the Max)DirectorIMAX (concert film)The first IMAX feature-length film and concert documentary, featuring the Rolling Stones' 1990 tour, it revolutionized live music presentation on giant screens.
1993ImagineProducerIMAX (short)A meditative IMAX film on human imagination, narrated by Tom Cruise, that exemplified Kroitor's later emphasis on philosophical and inspirational themes.
1997Paint Misbehavin'Executive producerIMAX (short animated)Utilizing Kroitor's SANDDE stereoscopic animation system, this short demonstrated hand-drawn 3D techniques for vibrant, painterly visuals.
2000CyberWorldCo-producerIMAX (animated anthology)This IMAX 3D collection of digital animations, including segments from Monsters, Inc., highlighted Kroitor's role in bridging traditional filmmaking with CGI advancements.
1993Imagine (re-release or related)ProducerIMAXAn updated exploration of creativity, reinforcing Kroitor's legacy in inspirational large-format documentaries.
2010Hubble 3DProducerIMAX 3DKroitor's final major IMAX contribution, this NASA collaboration captured Hubble Space Telescope repairs, immersing viewers in space with groundbreaking 3D astronomy footage.

Awards and Honors

Roman Kroitor received numerous awards and honors throughout his career, recognizing his pioneering contributions to documentary filmmaking, techniques, and the development of technology. His work at the (NFB) and beyond earned him accolades from major international film organizations, often tied to innovative shorts and features that pushed technical and narrative boundaries.

Academy Awards

Kroitor earned four Academy Award nominations for his short films. For City of Gold (1957), co-directed with Wolf Koenig, he was nominated in the Best Short Subject (Documentary) category at the . His landmark documentary (1960), co-directed with Colin Low, received a nomination for Best Short Subject (Animated) at the . Later, Bravery in the Field (1979), which he produced with Stefan Wodoslawsky, was nominated for Best Live Action at the . Additionally, First Winter (1981), an executive-produced historical drama directed by John N. Smith, garnered a nomination in the Best Live Action category at the .

BAFTA Awards

Kroitor won two (BAFTA) for his early NFB documentaries. Universe (1960) received the BAFTA for Best Animated Film at the 14th in 1961. His production role on Nobody Waved Goodbye (1964), directed by Don Owen, earned the Flaherty Documentary Award at the 18th in 1965.

Cannes Film Festival

At the , Kroitor secured three awards for his innovative shorts. The Back-Breaking Leaf (1959), co-directed with Judith Crawley, won the for Best Television Documentary. Universe (1960) received the Short Film Jury Prize (ex-aequo) at the 13th . A third honor came for Lonely Boy (1962), co-directed with Koenig, which won the Short Film Prize in the category for films under 30 minutes at the 15th .

Canadian Film Awards

Kroitor amassed at least six Canadian Film Awards (Etrog Awards precursors), highlighting his dominance in Canadian documentary production. These included Film of the Year for City of Gold (1957), Universe (1960), and Lonely Boy (1962); Best General Information Film for Lonely Boy (1962); Best Children's Film for Above the Horizon (1964); and Best TV Information Film for Stravinsky (1965). His executive production on One Man (1977), directed by Robin Spry, swept six awards at the 28th Canadian Film Awards, including Film of the Year, Best Direction, Best Screenplay, Best Actress (Jayne Eastwood), Best Actor (Len Cariou), and Best Supporting Actor (John Baylis).)

Other Honors

Beyond film festivals, Kroitor was recognized for his broader impact. In 2001, he received the Nation Builders Award from the Ukrainian Canadian Congress for his contributions as a Ukrainian-Canadian innovator in cinema. In 2011, alongside IMAX co-founder Graeme Ferguson, he was awarded the International Gold Medal by the Society of Motion Picture and Television Engineers (SMPTE) for distinguished work in motion pictures. The Giant Screen Theatre Association (GSTA) honored him with the Founders Award in recognition of his role in establishing as a revolutionary format. These lifetime achievements underscore Kroitor's legacy in technical innovation and storytelling.

References

  1. https://thecanadianencyclopedia.ca/en/article/roman-kroitor
  2. https://variety.com/2012/film/news/roman-kroitor-developer-of-imax-dies-1118059423/
  3. https://blog.nfb.ca/blog/2012/09/18/death-of-roman-kroitor/
  4. https://www.theglobeandmail.com/news/toronto/roman-kroitor-85-revolutionized-the-film-world/article4593837/
  5. https://www.thetimes.com/article/roman-kroitor-3sn0tt9ljqx
  6. https://cfe.tiff.net/canadianfilmencyclopedia/content/bios/roman-kroitor
  7. https://blog.nfb.ca/blog/2018/04/24/candid-eye-series/
  8. http://cinecollage.net/cinema-verite.html
  9. https://thecanadianencyclopedia.ca/en/article/universe
  10. https://blog.nfb.ca/blog/2013/10/18/universe-kubrick-2001/
  11. https://www.bfi.org.uk/lists/2001-space-odyssey-stanley-kubrick-influences
  12. https://cfe.tiff.net/canadianfilmencyclopedia/content/films/stravinsky
  13. https://www.in70mm.com/presents/1970_imax/library/birth/index.htm
  14. https://www.nfb.ca/film/in_the_labyrinth/
  15. https://www.in70mm.com/news/2023/labyrinthe/index.htm
  16. https://www.thecanadianencyclopedia.ca/en/article/imax-systems-corporation
  17. https://playbackonline.ca/2012/09/18/nfb-pioneer-and-imax-co-inventor-roman-kroitor-passes-away/
  18. https://www.buildcanada.com/en/great-canadian-builders/imax-founders
  19. https://www.nfb.ca/film/momentum_en/
  20. https://airandspace.si.edu/stories/editorial/imax%25E2%2580%2594not-first-close
  21. https://molodtsov.me/2025/07/imax-is-a-superbrand/
  22. https://www.smpte.org/about/awards-programs/john-grierson-gold-winners
  23. https://www.awn.com/animationworld/dig
  24. https://www.ada-x.org/en/activities/sandde-draw-in-stereoscopic-3d-space/
  25. https://www.giantscreencinema.com/film_database/paint-misbehavin/
  26. https://stereoworld.org/wp-content/uploads/2019/07/SW_V27_3.pdf
  27. https://www.cbc.ca/news/entertainment/imax-co-inventor-filmmaker-roman-kroitor-dies-1.1232940
  28. https://www.wired.com/2005/05/lucas-2/
  29. https://www.slashfilm.com/557016/21-87-short-film-star-wars/
  30. https://variety.com/2012/biz/news/imax-swings-to-2-6-mil-profit-1118053219/
  31. https://thecanadianencyclopedia.ca/en/article/imax-systems-corporation
  32. https://www.dignitymemorial.com/obituaries/mont-tremblant-qc/roman-kroitor-5243919
  33. https://www.canadashistory.ca/explore/arts-culture-society/canadian-innovators-helped-film-go-big
  34. https://www.fandango.com/people/roman-kroitor-367894/film-credits
  35. https://www.rottentomatoes.com/celebrity/roman_kroitor
  36. https://www.giantscreencinema.com/film_database/last-buffalo-the/
  37. https://www.imdb.com/name/nm0471993/
  38. https://www.thecanadianencyclopedia.ca/en/article/roman-kroitor
  39. https://www.nfb.ca/channels/oscar-winners-and-nominees/
  40. https://www.oscars.org/oscars/ceremonies/1980
  41. https://www.bafta.org/awards/film/animated-film/
  42. https://www.festival-cannes.com/en/retrospective/1960/awards/
  43. https://www.imax.com/pr/imax-announces-recipients-founders-award-chicago-gsta-conference
Add your contribution
Related Hubs
User Avatar
No comments yet.