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VISION, SCOPE & RAMA
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1956
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180
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Visit biografmuseet.dk about Danish cinemas
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7OMM Returns to Stockholm |
Read more at in70mm.com The 70mm Newsletter
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Written by: Bengt Fredén, photographer,
Stockholm, Sweden |
Date:
17.01.2016 |
Photography by Bengt Fredén, Stockholm
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 Ultra Panavision 70 movie "The Hateful 8" in the evening of
January 10th, 2016.
Thanks to Thomas Hauerslev in Copenhagen, and to chief projectionist
Mats Kullander at SF Bio in Stockholm, we were invited for a short visit inside
the projection booth. A very friendly projectionist, who prepared the first
two 70mm reels for the 4.15 pm screening, showed us where the reels are
re-spooled and how they are loaded onto the Philips/TODD-AO DP70 projectors.
YES! In this movie theater, one of very few, "The Hateful 8" is shown
in it's original, ten-reel form, using two DP70 projectors! So, reel #1 was
loaded onto the upper spool of the left projector and reel #2 to the right
one.
It is much more common to show these long 70mm movies from large horizontal
platters, in a so called 'non-rewind' configuration, where the film is
loaded
from the center (where the core normally would be) and not from the outside,
which is normal when you show all the ten reels in consecutive order. The
film
is, in this non-rewind configuration, then led via spools and spindles under
the ceiling through the room over to (and back from) only one DP70
projector.
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More in 70mm reading:
The Adventures of Hateful 8 at
Rigoletto!
7OMM Vender tilbage til Stockholm
Internet link:
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Photography by Bengt Fredén, Stockholm
We got to hold one of the 70mm reels, reel #1, and it was VERY heavy,
weighing in at about 8 Kilos. That means that the complete film (3 h and 8
min)
weighs in excess of 80 Kilos! Beside the steep stairs up to the booth there
was a very smart motorized rail lift, for the purpose of bringing up very
heavy
film reels and other massive projector equipment.
When the projectionist placed the first reel on top of the projector, I got
to look at the 70mm film path in front of the powerful Xenon lamp housing,
and I
noticed that the film is carried through a slightly arc-fomed path, with
thin metal guides on either side, instead of a flat pressure plate, thus
reducing wear
and scratches on the film to an absolute minimum. In a DP70 projector, it is
possible to show one film print or copy several hundred times without de-grading the print quality at all.
In front of the lamp house and film path, there is a special, very solid and
long, cast metal holder for the projection lens. I could see that in front
of the usual
lens, there was a special "H88 ANAMORPHIC 0.8x" lens, which was delivered
along with the film print from distribution company. An anamorphic lens is a
special kind of lens, with oval lens elements, which during projection
'spreads out' the image, so that it is slightly wider than in the 65mm
camera negative,
where the image is in turn compressed, using a similar anamorphic ULTRA
PANAVISION 70 camera lens, which is, however, turned 90° in the other
direction.
I took a few photos of the film path and the 'H88' lens:
After having thoroughly seen the DP70 projectors and the digital DTS sound
equipment, as well as the BARCO digital projector, from where the Swedish
subtitles are
projected onto the lower section of the theater screen, we briefly also met
the female chief projectionist for the evening's screening, who arrived in
time to operate, and continuously monitor, the two DP70 projectors for the next three hours. We
left the projection booth in high spirits.
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Photography by Bengt Fredén, Stockholm
We sat a while in the VIP lounge and bar, had a few drinks and discussed
what we had just seen. Then, at about 15 minutes before the actual
screening, the big doors
opened and we took our drinks and sat down in our very comfortable VIP
seats, with a small drink table beside each seat.
After the commercials, we enjoyed the digital presentation of the making of
the film. Then, when the OVERTURE started, I was very much impressed by the
mysterious
score of Ennio Morricone, with ominously growling bassoons. The sound was
massive and impressive overall, and the dialogue was very clear and easy to
hear.
And, the superwide ULTRA PANAVISION 70 format lends itself extremely well to
the grand vistas of Wyoming (Telluride), as the old stage coach comes
rolling along after
six sweaty horses in the snowy landscape. We thoroughly enjoyed the whole
film, with it's drama and intrigue, discussing it during the INTERMISSION -
a true Tarantino story!
What a glorious film evening!
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More Hateful pictures by Bengt Fredén
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Go: back - top - back issues - news index Updated
21-01-24 |
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