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in70mm.com Mission:
• 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.

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70MM Film Print and Projection Details

Read more at
in70mm.com
The 70mm Newsletter
Written by: Paul Rayton in conversation with Boston Light and Sound's Chapin Cutler Date: 01.01.2016
"The Hateful Eight" 7OMM print in the DP70 film gate. Image Thomas Hauerslev

• all 70mm prints (for platter houses) will be shipped out entirely assembled, none will be assembled in the venues. The prints are being built up by a selected crew working near Magic Mountain (Santa Clarita), CA.

• the prints will be in one single transport case, custom made for the show. A large, flat case, similar to those sometimes used to transport Imax 70mm prints, back in the day.

• even though the show will have an intermission, there will be only ONE ROLL of film. In other words, the intermission is built into the movie, with 12 minutes of black film (and DTS [Datasat] timecode printed in it) in the middle of the built-up platter print. There is no audio during the intermission, but there is a 45-second "entr'acte" music bit at the beginning of the second half of the show.

• the film print itself weighs about 220 pounds.

• with the shipping box, the total shipping weight is 350 pounds.

• the total running time is a little over 3 hours, including the intermission.
 
More in 70mm reading:

Quentin Tarantino's "The Hateful Eight" in Ultra Panavision 70

Internet link:

 
Schauburg, Karlsruhe 7OMM test material for The Hateful Eight. Image Herbert Born

• BLSI tracked down about 120 projectors, including 20 from Cinemeccanica and some Simplex XL 70’s. About 90 of the machines are Century JJ’s.

• all the platters are Christie AW 3 R’s converted to 70 mm.

• the projectors being sent out are 70mm ONLY. Most 35mm-specific parts for allowing them to run that gage are removed and stored. This was to minimize the chances for accidentally flipping a roller (etc.) into a 35mm mode, or have a too large / too small loop hitting somewhere, as potential causes of scratching. All the systems will have an on board PTR film cleaner.

• Larry Shaw from BL&S had to commission about 125 different parts as they are no longer being made by the original suppliers.

• they had to commission a significant number of new primary lenses, taking an educated guess at the number of specific focal lengths which would be needed.
 
 
7OMM print #72 shipped in cardboard boxes, for Imperial Bio, Copenhagen, Denmark. Image Alan Lyman

• they also had to have over 120 of the 1.25X anamorphic attachments built; some are based on the design of the anamorphic lens developed for d-cinema by ISCO, but are not identical. There is another design for longer throws and can be used in the reverse direction, i.e. as in the "reverse anamorphic" mode sometimes used by drive-ins with long throws.


• lamphouses are all from equipment sent into premature retirement when the digital juggernaut hit a few years ago. New reflectors were made for many of them.

• all the equipment that is shipped out to venues is on temporary install basis. The gear is scheduled to be taken out following the run. (This does not apply to venues which have pre-existing 70mm projection equipment, obviously!)

• FotoKem is producing the prints.

• BL&S is lining up projectionists to work through this run. They are contacting folks with film projection experience by approaching local Unions to see who might be available.
 
 

"The Hateful Eight" 70mm 1,25x ISCO projection lenses

 
ISCO Germany Widescreen Attachement 1,25x S anamorphic projection lens. Modified to have threads on the back. Sent an adapter to reduce down to a standard 2" lens barrel. Image by Stephan Shelley
 
 
ISCO Germany Widescreen Attachement 1,25x S anamorphic projection lens. Modified to have threads on the back. Sent an adapter to reduce down to a standard 2" lens barrel. Image by Stephan Shelley
 
 
 
"Was not able to use the prime lens BL&S sent. Image was too large for porthole. For regular 70mm on this screen we use a Kollmorgan 4" lens barrel and 4" magnicom. I was able to collapse the magnicom enough and put the 1.25x lens on the front. weighs in at around 25 pounds."

Image by Stephan Shelley
 
 
Close-up of vintage Ultra Panavision 70 projection lens. By Born, Schauburg
 
 
Anamorphic adapter on the DP70 at the Imperial Bio in Copenhagen, Denmark. Image Thomas Hauerslev
 
 
   

65mm editing table

 
70mm editing table made by Prevost in Italy. Pix test done prior to giving the machine to Quentin Tarantino for editing.

Both the 15 perf 70mm and 5 perf 70mm modern flatbeds (the only two to ever exist) were destroyed last year. They literally ripped them apart and threw them into a dumpster.

However, there was a rusty old 70mm 5 perf unit found after an exhaustive search. It appears to be a unit from the '50's. I didn't get much detail on the make, but it was completely re-built and is fully functional. This is the unit Quentin used to build his reel's for The Hateful Eight.

It has a mirror hanging over the unit that reflects down onto the curved screen. It's pretty beastly, but man what a cool unit!
 
 
   
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Updated 22-12-16