| 65/70MM WORKSHOP |  The 65/70mm Workshop is edited and maintained by Ramon Lamarca Marques (England), Brian Guckian (Ireland) and Mike Taylor (England).
WORKSHOP ARCHIVE | Theatrical Presentation | Feed Back
Views and opinions are entirely theirs and generally, but not necessarily, shared by the editor of in70mm.com |
|  AN OPEN LETTER TO VISIONARY FILMMAKERS
More and more, leading Creative Artists in Cinema today - and Audiences at Box Offices around the world - appreciate and understand the value of large format origination and presentation.
65mm brings detail, clarity and subtlety to the moving image. It draws the audience in, greatly enhancing the cinematic experience.
Having successfully integrated 65mm sequences into your most recent films, we now suggest you consider taking the next step and to shoot your next project entirely in this high-quality wide format.
 A full 65mm feature opens the exciting possibility of even better IMAX prints, as well as - for the first time since Kenneth Branagh's "Hamlet" in 1996 - the possibility of audiences without access to IMAX cinemas being able to experience the splendour of traditional 70mm prints.
As is well-known today, modern 70mm prints are accompanied by full-range digital audio, and thanks to modern film stocks, look more spectacular than ever. Many cinemas around the world retain 70mm capability, and limited, economical 70mm release is a real option today.
With thanks to in70mm.com and the Widescreen Weekend
65/70mm Workshop |
| | THE 65/70MM WORKSHOP IN PRINT |  A paper summarising many of the topics covered by the Workshop since 2006 was published in Cinema Technology (Journal of the BKSTS, December 2009 and March 2010), and also by International 70mm Publishers, The Netherlands in their book "Digital & 65mm": Today's Technology for Tomorrow's Cinema (Johan Wolthuis, 2010).
The Paper, entitled Waking the Sleeping Giant, also carries an account of the Vistamorph(R) process by Chris O'Kane.
Our thanks to the BKSTS and to International 70mm Publishers, The Netherlands. | | |
| | | TOP STORIES |  “We thought at the time that there wouldn’t be many places to play this in 70mm, but we were pleasantly surprised. There are still a lot of projectors, at least in US, that are 35mm and 70mm combined.”
- Paul Thomas Anderson
“In The Master, Paul Thomas Anderson has shown eloquently that 65mm works incredibly well for an intimate, character-driven film, not just those with epic backdrops. He recognizes the emotional power and depth of the large format, and delved into it in a way that is very rarely done. In so doing, he has advanced the power and beauty of 70mm storytelling and elevated moviemaking to exciting new heights.”
- Andrew Oran, Vice-President, Large Format and Restoration Services, FotoKem
"The Master" surpasses per-screen box office record; 70mm release appeals to cineastes, younger audiences - Variety report
"The Master": Framed in 65mm for Maximum Visual Impact - Kodak InCamera
Masterful use of 65mm on "Master" - Variety Oscar News
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| | ULTRA HD (UHD) IN THE HOME BOOST FOR 65MM ORIGINATION |  The recent announcement at the 2013 Consumer Electronics Show (CES) of near-4K resolution television displays is a significant boost for the expanding use of the 65mm and IMAX formats in feature film and documentary production.
As the quality of domestic television displays increases significantly, a corresponding demand arises for increased quality in image origination - quality more than amply provided by the 5-65 and 15-65 film formats, and future-proofed in addition.
Wide- and large-format film carries very large amounts of image information in an economical, readily-accessible manner, impervious to constant changes in technology, and with long-lasting archival value.
It may also be financially possible to change some film-based workflows to 65mm without increasing costs significantly, in terms of typical overall expenditure on feature films.
• 65mm - The Versatile Shooting Format
• A Review of "The Master" in 70mm
• Batman to the Max - American Cinematographer 8/2012
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| | | FEED BACK |  10.10.2010
Please do all you can to bring back 70mm with its attendant arc lamps to enable 70mm to be shown in all its glory. Full letter. |  12.03.2010 - USA
This is in regards to bringing back 70 mm film presentation in the theater. I think it’s a great idea. I always loved 70 mm and I feel bad that the young generation hasn’t been able to experience it. I took my Kids to see "Shutter Island", Martin Scorsese’s new film that was shot in both 35 mm & 70 mm and the kids loved it. Full letter | 21.05.2009 - Australia
I enjoyed reading your Tab Presentation and always remembered that only old run down theatres didn't have a curtain to protect the screen, they always had masking though. Full letter |  22.10.2008
One movie I would love to see shot in 65MM is the adaptation of Halo, which will be produced by Peter Jackson. If that movie were to be shot on 65MM stock, then younger people will be blown away. Full letter |  26.03.2006
Can 70mm make more money? Now it seems that Imax are demonstrating that it can. But someone has to be willing to put the millions up to do it. The cinema biz is run by 30 year old accountants. Full letter |
| | WORKSHOP AIMS |  1. To preserve the film experience at its best, with large negative (65mm or wide horizontal 35mm) and prints on 70mm.
2. To serve as a platform and network for everybody, who is interested in 65/70 production, to expose their practical ideas, thoughts, solutions, ...
3. To try and link cinematographers, producers, exhibitors and the film industry in general to drive the viability of production of films in this format.
4. To promote film as an important artistic tool in the history of cinema, which can continue to be used along with other new media.
5. To make possible, in a creative way, the return of the "cinema event presentation" as something unique and separate from other media. |
| | INTERNATIONAL 70MM PUBLISHERS |  "Digital & 65mm"
By Johan Wolthuis
Now available from "International 70mm Publishers", edited and published by Johan Wolthuis in The Netherlands. The book examines the question: "Are there any chances for the future of original 65mm filming and 70mm presentation?" | | |
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