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In70mm.com • "To record the history of the large format movies and the 70mm cinemas as remembered by the people who worked with the films. Both during making and during running the films in projection rooms and as the audience, looking at the curved screen". • in70mm.com, a unique internet based magazine, with articles about 70mm cinemas, 70mm people, 70mm films, 70mm sound, 70mm film credits, 70mm history and 70mm technology. Readers and fans of 70mm are always welcome to contribute.
LATEST 70MM NEWS AND FEATURES
The Ziegfeld and Sound By Paul Margulies I was assigned by Theater Alignment Program to report on the screening of Independence Day. As I sat in the sold-out show, it was apparent that the film was running in mono sound, rather than the Dolby Digital as advertised. When the screening was finished and I was sitting writing up my notes to phone in to TAP. I pointed out the massive water stain on the screen and the fact that the sound was not in 5.1.
50th Anniversary of "The Sound of Music" in Dutch Cinemas This year it is exactly fifty years ago that The Sound of Music (1965) was first released in Dutch cinemas. This Oscar-laden musical remained one of the most enduringly popular Hollywood films well into the seventies and achieved a true cult status. Schawn Belston of 20th Century Fox, who is responsible for the recent digital restoration, will be present in EYE to give an introduction to the screening.
The Ziegfeld has closed By Howard Haas The Ziegfeld in New York closed January 28, 2016 and will be gutted to be the Ziegfeld Ballroom. The last "Star Wars: The Force Awakens" shows were sold out with movie fans who wished to say goodbye to the Ziegfeld.
"The Hateful Eight" in der Essener "Lichtburg" Von Ulrich Rostek Wie die meisten aus der verschworenen Gemeinschaft der 70mm-Anhänger fieberte ich dem Kinostart von "The Hateful Eight" entgegen, seit sich die Hinweise verdichteten, dass zum ersten mal seit beinahe 50 Jahren wieder ein Film in 70mm Ultra Panavision produziert werden sollte.
THAT’S CINEMA! The Hateful Eight in 70MM at ARCADIA, Milan Italy By Francesco Gualeni I’ve never seen so many people enthusiast in front of a 70MM film print! When Interstellar was released in 70MM everybody thought about a miracle that an analog print was back again into theater, but now with The Hateful Eight and next year with Christopher Nolan’s Dunkirk the idea of “cinema experience” is back again.
"The Hateful Eight" at the "Lichtburg" in Germany By Ulrich Rostek Like everybody within the 70mm community I was absolutely keen on seeing "The Hateful Eight" since I read the movie was going to be shot in Ultra Panavision 70. In Germany only four 70mm prints were distributed to the movie theatres still capable of projecting 7OMM, including the cinema next door to me.
"Star Wars" in 15/70mm IMAX By Alain Dorange Here's a list of cinemas which play "Star Wars The Force Awakens" in authentic IMAX 7OMM film.
In Amsterdam 70mm is reborn! By Johan Wolthuis An inquiry among the visitors, mostly Tarantino fans, before the first full house screening , why they came to the EYE for Tarantino's movie (they have to take the ferry crossing the harbour) instead of the easier way to see it in the inner town of Amsterdam, resulted in the same answer from all: "We want to see it the way Tarantino has meant it: in 70mm!" So that is the reason, not the enormous publicity!
7OMM Kommer Tillbaka till Stockholm! Av Bengt Fredén Jag måste också givetvis nämna för er att vi hade mycket stort nöje av filmen! Att se en 'riktig' analog film i detta superformat är en upplevelse utöver det vanliga! Speciellt imponerade, förutom de fantastiska inledande bergsscenerierna i det snöiga Wyoming, var det mäktiga ljudet - Ennio Morricones specialkomponerade musik, med mystiskt morrande fagotter, ramade in detta märkliga kammardrama.
7OMM Returns to Stockholm By Bengt Fredén Here is a short account of our visit at the projection booth at the Rigoletto movie theater in Stockholm, and of course also from the screening of the three-hour UltraPanavision 70 movie "The Hateful 8" in the evening of January 10th, 2016.
The Hateful Eight in London at The Odeon Leicester Square By Mark Lyndon & Ben Wales Make no mistake, this is a landmark in the history of the cinema. Odeon have risen magnificently to the challenge of catering to record breaking demand to see a film which is the talk of the town. We have never seen such massive crowds in Leicester Square, all determined to secure a seat to witness the must see film of the year, if not the century so far.
Seeing the Big Picture By American Cinematheque Requiring special projector lenses sent to theaters to capture the film’s visual impact, Quentin Tarantino’s new Western, THE HATEFUL EIGHT, was shot in Ultra Panavision 70 - the first such production since KHARTOUM. Other films shot in Ultra Panavision include the star-studded comedy IT’S A MAD, MAD, MAD, MAD WORLD, which proved as side-splitting as it was screen-stretching, and the timeless classic BEN HUR, whose famous chariot race used the edges of the image to keep audiences on the edge of their seats.
The Adventures of Hateful 8 at Rigoletto! By Mats Kullander To cut toilet line on the balcony during intermission, I went down and let people use “my” toilet, at the same time showing them the projectors and film. It really was a terrific “family gathering” and all sold out in the booth. I had to promise some of them a visit after the performances. At 01:50 AM I had shown the film to almost 2.300 fans and didn't leave the cinema until 02:45 after the last curious person had left the booth. I must say that this is some kind of peak in my long career.
Ultra Violence in Ultra Panavision and Poetic Glory in Cinerama Reviewed by Mark Lyndon "The Hateful Eight" is ugly, violent, gory and brutal. it also contains some of the most hauntingly beautiful and poetic imagery ever projected in a cinema. If at all possible, it must be seen in Ultra Panavision 70. A huge amount of courage, dedication and vision has gone into bringing this film to the big screen, for a mainstream audience to have it's eyes opened to what cinema is capable of achieving in the hands of a true master.
The HATEFUL 8 @ the SUN theatre By Bert Murphy Getting the Projector into the bio was every bit the nightmare I had been imagining it to be. First, rolling it down the street on casters like an armoured shopping trolley got a few glances from passing traffic. Then into the foyer for the next challenge. It wouldn't fit in the lift. No problem; release the lamp house mount from the pedestal and carry it along behind.
"The Hateful Eight" Road Show at AFI Silver By Howard B. Haas I had never seen a movie two days in a row, and never seen a new movie twice unless I'm travelling and wish to see a historic movie theater but over Christmas weekend, I enjoyed director Quentin Tarantino's 70mm Roadshow presentation of the 3 hour epic “The Hateful Eight” two days in a row at the AFI Silver in suburban Washington D.C.
"The Hateful Eight" goes to Russia By Alex Asp The HATEFUL EIGHT will be released on one 70mm screen in Moscow on January 1st, 2016 - In the biggest auditorium of OCTOBER cinema. They have located fully preserved an fully functional KINOTON FP75E. The Russian dubbed soundtrack will be played using the only surviving DTS set of equipment.
Christopher Nolan to Direct Thriller “Dunkirk” in 65mm Christopher Nolan will direct “Dunkirk” from his own original screenplay. An epic action thriller, “Dunkirk” is set during the legendary evacuation. Warner Bros. Pictures is distributing “Dunkirk” worldwide and has slated the film for a July 21, 2017 release. The film will be released theatrically on IMAX, 70mm, 35mm and all other screens.
70MM at the Schauburg. Todd-AO Festival Report By Thomas Hauerslev Every year in October a group of around 200 people meet in a cinema in Baden-Württemberg, in the south of Germany. A large part of the audience comes from Germany of course, but there are guests from all over Europe, the United States and as far away as Japan. What are they doing? They are watching classic 70MM films, many of which they often have seen many times before.
What did you think about the 7OMM Road Show Version of The Hateful Eight? Thoughts and impressions of the new film, and the roadshow presentation in your area. What did it look like, did the theatre give you a good experience, did the theatre sell souvenir programs, was it sold out, how far did you drive to see it in 7OMM, did the show live up to your expectations, and why etc., etc. If this is your first 7OMM, what do you think about it? Anything that comes into your mind about this event.
Introduction to Projection and Wide Film (1895-1930) By Rick Mitchell (posthumously) It is the intention of this book to deal with the subject of “Wide Screen“ as it relates to the mainstream theatrical motion picture industry and its history, with reference, where appropriate, to its effect upon such related areas as documentary, industrial, and non-theatrical production and exhibition. Notable techniques and processes, the events and situations within the industry which precipitated their introduction, and the subsequent loss of popularity of some them will be covered mostly in chronological order as new developments were generally founded upon, or a reaction to, a previous one.
The Widest Story Ever Told Von Christian Appelt Am 12. Oktober 1956 präsentierte MGM Camera 65 im Rahmen der SMPTE-Konferenz in einer Demonstrationsvorführung. Douglas Shearer und Robert Gottschalk von Panavision stellten die Flexibilität des Formats heraus. “Vom Standpunkt des Produzenten aus ist die Wahlmöglichkeit des endgültigen Verleihformats einer der Vorzüge dieses 65-mm-Verfahrens”
Mixing Techniques for Dolby Stereo Film and Video Releases By Larry Blake As of June 1985, over 600 films have been mixed in Dolby Stereo, averaging approximately 120 releases per year during the past two years. Along the same lines, the use of Dolby 70mm prints by major Hollywood studios has been steadily increasing over the past few years. Since 1982 approximately 15 films per year have been released in Dolby 70mm prints, and by the end of last year the grand total hit the 75 mark.
Playback of magnetic sound tracks on 70mm cinema prints at the Schauburg By Clemens Scherer At the Schauburg cinema in Karlsruhe the decision was made to have new sound heads manufactured, not the usual ones, but with an updated position of the pickups to reflect the average shrinkage of the prints. Running over these sound heads, all the tracks are oscillating more symmetrically to their pickups. One could consider in addition to have new guidance rollers manufactured, optimized for the now smaller prints.
Teccon Precision Magnetic Recording Heads By Teccon Enterprices Teccon was founded on the philosophy that precision products demand precision workmanship from beginning to end, that talent be supported by the appropriate equipment regardless of cost and that client guidelines be met with professional expertise in all respects.
COMING TO IN70MM.COM
• 1930's Large Format Equipment at the USC Archive By Dan Sherlock • Sales Manual For Louis De Rochemont's Windjammer By The Cinemiracle Process • Visit to La Geode, Paris By Thomas Hauerslev • Visit to Futuroscope, Poitiers By Thomas Hauerslev • Visit to Kinepolis, Bruxelles By Thomas Hauerslev • Georges Loisel's list of 7OMM in Paris By Olivier Rousseau • Vintage articles about Todd-AO, Showscan, Panavision & Dolby • Brian O'Brien, Jr.'s Todd-AO Scrapbook Coming soon • Rare black/white images from American Optical Company Coming soon • "Oklahoma!" on opening night at the Rivoli Coming soon
Information about "The Golden Head" By Gerhard Witte I saw "Milly" for the first time at Bradford's Widescreen Weekend in 2006. It was well received. Some opinions about the movie read as follows: An unexpected delight that was a great deal better than its reputation. "The Golden Head" was the great surprise and a real treat. Excellent! Great to see the legendary "The Golden Head"!
in70mm.com publishes an e-mail newsletter which is sent to users. If you want to join or discontinue, please send an e-mail to Bill Lawrence, in70mm.com. 802 readers already signed up.
I continue to be impressed by the dedication you have to the continuing wellbeing of 70mm. I would like you to have met my colleague and friend, the late Robert Gottschalk, founder and driving force of Panavision. He was of the unshakeable opinion that picture quality, real picture QUALITY, depended on a big piece of negative, the bigger the better.
All good wishes, Sir Sydney Samuelson, December 2009
"Encourage film makers to produce and make new films in 65mm, present them in 70mm with 6-track discrete digital sound on big curved screens".
"The 70mm Association Newsletter" was the "voice" of The International 70mm Association.
For 7 years, when the magazine was produced regularly, it was edited and published in Copenhagen. The magazine was never a commercial venture - nor was it intended to be. It had a lot of fans and the number of subscribers climaxed in 2000. The last issue was published in the fall of 2001. Special edition issues 68, 69 & 70 have been made for the Widescreen Weekend.
Todd-AO Birth date By Brian O'Brien On October 15th, 1952 I received a phone call from a Michael Todd in New York City, who wished to come to see me at Rochester that evening. I had never heard of Todd, but it seems that he is a well-known Broadway producer.
High impact immersive widescreen filmmaking with Douglas Trumbull Interviewed by Tony Earnshaw I have discovered that if you embrace digital technology from a new perspective and you say, ‘Let’s just get rid of all the historical artefacts and beliefs of what an image is or what it should look like and start over and do it all digitally and take advantage of high resolution cameras that are available and that very people use, the high resolutions projectors that are available that very people use and take advantage of the fact that the digital projectors that are in tens of thousands of movie theatres can run at 144fps and no one’s using it.
How to Create the Best experience in the Cinema By Thomas Hauerslev Films like "Titanic" and "Braveheart" should have been shot in 65mm simply because they are "big" movies. But shooting in 65mm doesn't need to be limited to the obvious mega productions. Small independent movies would benefit enormously with the sharper picture. I'd enjoy seeing films like "Enemy of the State", "As Good As It Gets" and "You've Got Mail" and many more, shot on 65mm stock and presented in 70mm. I and most of our readership would certainly seek out cinemas presenting films in 70mm.