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.
Widescreen
Weekend 1996 By Thomas Hauerslev Bill Lawrence introduced the show and told the
story of how the staff had worked hard to make this work. There was
a big applaud for Tony and Duncan from the audience, and Bill
Lawrence continued: "Without the International Cinerama Rumour Factory
this show would never had taken place".
The Widescreen Weekend is a celebration of all that is extraordinary
in large format film and
the audiences clearly prefer the curve to the flat screen.
Mission
Report from Widescreen Weekend 1996 By Thomas Hauerslev
Seeing old prints, faded clips, looking for join lines, the smell of
magnetic sound, hearing tape hiss, seeing "Intermission" signs, is all part
of the show in Bradford. The week-end in Pictureville came to an end. I owe
much thanks to the staff there, especially Mr Bill Lawrence, Mr Tony Cutts,
Mr Duncan McGregor and Mr. Dick Vaughan for making it unforgettable, highly
interesting and for making me feel so welcome.
Planning the Wide Screen Weekend By Thomas Hauerslev Wide Screen Weekend organizer Mr. Bill Lawrence lets you see behind the scenes of his ideas on planning the 1998 Wide Screen Weekend
Creating the Widescreen Weekend By Bill Lawrence The Widescreen Weekend is a celebration of all that is extraordinary in large format film and has become a highlight on the film festival calendar.
Projecting the Widescreen Weekend By Thomas Hauerslev
The audience ask about the difference between the curved and flat
screen. They are very keen to see what happens on the different screens.
Some films are made to be shown on the Cinerama curve, and if it is well
done, it looks good and develops a more 3-dimensional aspect. You feel
more drawn into the picture. The audiences clearly prefer the curve to the
flat screen.
Pictureville Cinema By Thomas Hauerslev In West Yorkshire, in the heart of Britain, one of the worlds most advanced cinemas is situated. Capable of presenting not only 70mm, but also Cinerama.
Cinerama at the Pictureville By Thomas Hauerslev Understanding the installation and start procedure of "This is Cinerama" in the jewel of British cinema.
Widescreen
Weekend "Audience on
Stage" By Thomas
Hauerslev
The traditional
"on-stage" picture -
a unique
Pictureville
tradition since
1998. A very enthusiastic
audience went on
stage to have their
picture taken. See
the image and
download for free
Projection Team of the Year By Duncan McGregor The Pictureville projectionists team was awarded the BKSTS Projection Team Of The Year award.
WSW IMAX
The
First 70MM IMAX
Cinema in England By Thomas
Hauerslev
I went up to
Bradford to see
National Museum of
Photography, Film &
Television on a
1-day return trip by
train during a visit
to London. I had
read about this new
museum in Screen
International some
years before and it
came highly
recommended. I was
especially
interested to see
the IMAX cinema.
Goodbye
70mm IMAX Projector By Vaughan, McGregor and
van der Post
When IMAX opened at the NMeM in 1983, a little over 10 years after the IMAX
technology premiered in Japan, it was the first ever IMAX cinema in Europe
and contained Britain’s largest cinema screen. This summer we say goodbye to
the good old 70mm IMAX projector at Picturehouse at National Media Museum,
as it will be converted to digital and the cinema will be refurbished.
Ken Annakin Interview By Thomas Hauerslev
From what I remember Christopher Challis the Director of Photography spent about 3 or 4 days at the Todd-AO headquarters, and was told all the things he could and could not achieve with their 70mm cameras. But we never had a technical supervisor come out on location. If we had any queries we could call the Todd-AO experts at any time.
Ken
Annakin. Director in Todd-AO and Ultra Panavision 70 Von Thomas Hauerslev
Doch was die
Entscheidung angeht, die „Fliegenden Kisten“ in Todd-AO zu drehen, so war dies
einfach die logische Wahl. Es war damals das größte Filmformat und ich wusste,
dass ich die Leinwand mit vielen Menschen und Flugzeugen füllen wollte. Wirklich
beeindruckend sind nun diese winzigen Flugzeuge in einem riesigen leeren Himmel,
und das erreicht man nur mit 70mm.
"Orpheus
in the Underworld" - Introduction
By Ingolf Vonau
The film that you are about to see was the last 70mm production in East Germany. After 7 feature films and 2 documentaries
this production line came to an end. Why did the East German film company DEFA
decide to film in 70mm?
Is "Windjammer" the Queen of Kitsch? By Fans at the Widescreen Weekend
It is a grand movie! As a colleague of mine in London told me. It must be the queen of kitsch. But it was an incredible experience to see "Windjammer", the film all Norwegians have talked about since the original release in 1958.
How
to travel to Bradford By Paul Rayton No
matter where you are coming from (unless you are already
in the UK), you have to get there by air plus some kind
of ground transportation.
