“Almost like a real web site”

Search | Contact
News | e-News |
Rumour Mill | Stories
Foreign Language
in70mm.com auf Deutsch


Todd-AO Festival
KRRR! 7OMM Seminar
GIFF 70, Gentofte
Oslo 7OMM Festival
Widescreen Weekend

Premiere | Films
People | Equipment
Library | Cinemas
Todd-AO Projector
Distortion Correcting

Ultra Panavision 70
Super Panavision 70

1926 Natural Vision
1929 Grandeur
1930 Magnifilm
1930 Realife
1930 Vitascope
1952 Cinerama
1953 CinemaScope
1955 Todd-AO
1955 Circle Vision 360
1956 CinemaScope 55
1957 Ultra Panavision 70
1958 Cinemiracle
1958 Kinopanorama
1959 Super Panavision 70
1959 Super Technirama 70
1960 Smell-O-Vision
1961 Sovscope 70
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
1976 Dolby Stereo
1984 Showscan
1984 Swissorama
1986 iWERKS
1989 ARRI 765
1990 CDS
1994 DTS / Datasat
2001 Super Dimension 70
2018 Magellan 65

Various Large format | 70mm to 3-strip | 3-strip to 70mm | Specialty Large Format | Special Effects in 65mm | ARC-120 | Super Dimension 70Early Large Format
7OMM Premiere in Chronological Order


Australia | Brazil
Canada | Denmark
England | France
Germany | Iran
Mexico | Norway
Sweden | Turkey

7OMM Projectors
People | Eulogy
65mm/70mm Workshop
The 7OMM Newsletter
Back issue | PDF
Academy of the WSW

• 2026 | 2025 | 2024
2023 | 2022 | 2021
2020 | 2019 | 2018
2017 | 2016 | 2015
2014 | 2013 | 2012
2011 | 2010 | 2009
2008 | 2007 | 2006
2005 | 2004 | 2003
2002 | 2001 | 2000
1999 | 1998 | 1997
1996 | 1995 | 1994

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.

Disclaimer | Updates
Support us
Table of Content

Extracts and longer parts of in70mm.com may be reprinted with the written permission from the editor.
Copyright © 1800 - 2070. All rights reserved.

Visit biografmuseet.dk about Danish cinemas


Report from 70mm Film Festival in Malmų 1996

This article first appeared in
..in 70mm
The 70mm Newsletter

Written by: Jan Niebuhr ("Cheyenne Autumn") & Thomas Hauerslev Issue 46 - September 1996
In the beginning of June 1996 more than 120 reels of 70mm film were shown in one of the best 70mm houses in Europe; The Royal in Malmö, Sweden. The 70mm Festival was a part of The International Film Music Festival. This was a unique opportunity to see many of the great 70mm epics of the sixties one last time. All prints came from the Swedish Film Institute in Stockholm where they are kept in safe conditions in a giant freezer.

The 70mm festival was, sadly, not particular successful. Less than 30 people saw each performance in the 682 seater. Indeed there were problems. One problem was the late hours of screening. Only hard-core 70mm enthusiasts would sit through "Ryan's Daughter" from 11 PM until 3 in the morning. Some of us did just that, and we enjoyed every minute of it. Another problem was the missing advertising for this event. Most of the audiences were older males (probably projectionists) who had seen the films 30 years earlier. Only "2001:A Space Odyssey" could draw a reasonable crowd. This performance topped with 179 people who all enjoyed seeing this 1968 masterpiece on the 17,6 meter (57 ft) wide and very curved 70mm screen. What follows here is a status report of a few of the 70mm prints.

"The Abyss" in Super 35 and blown up to 70mm. A perfect print but grain were visible throughout the film. One of my favorite films.

"Can Can" in Todd-AO, 7 reels with Swedish subtitles. The print was very good. Barely one scratch and most of the colors were extremely good. After the intermission, however, there were black scratches. In one scene the noise from the 65mm Todd-AO camera was audible. The quality of the sound was impressive. Discrete 6-channel stereo thanks to Mr Fred Hynes and the re-recording of Todd-AO Sound Department. Although worn out here and there (no treble in center channel) the sound presence of the actors was most welcoming.

"Cheyenne Autumn" in Super Panavision 70. Reel #1: Overture, faded, black scratches. Reel #2: Black scratches like reel #1. Reel #3. Slightly purple in color. Only minor scratches. Reel #4: OK. Reel #5: OK and Intermission. reel #6: Entr'acte and minor scratches. Reel #7: Heavily scratched 5 minutes from picture start. Reel #8: Rather nice.

"The Hallelujah Trail" filmed Ultra Panavision 70 and presented in 70mm Super Cinerama with Swedish subtitles. This print was rectified. Meaning the edges of the 70mm frame were squeezed and the center of the frame was flat. The print was probably struck for a deep curve cinema. What happens is the edges are automatically un-squeezed when projected on a 146' Cinerama screen. During filming the whole image was photographed with a fixed 1,25 squeeze. In the laboratory each print was optically rectified for a specific curvature of screen (90', 120' or 146'). Some non-rectified Ultra Panavison 70 prints were also screened with a special Ultra Panavision 70 projection-lens attachment to get the full 2,76:1 aspect ratio. The Swedish print was VERY sharp but also very faded. One good laugh in the film was the PLOWBOY wall calendar with pin-up cows in Oracles (Donald Pleasense) office. I wonder how many noticed that? The film carried some good performances but was way too long.

"Ryan's Daughter" in Super Panavision 70 with Swedish subtitles and most of the colors intact. There were only 15 people present to this performance including one enthusiast on the fifth row from the screen. The sound was descrete 6-channel stereo. Sir David's last 65mm film was never a crowd pleaser. And thanks to that, the print was almost in perfect shape.

"Solomon and Sheba" in Super Techirama 70 print #11 with Swedish subtitles. The print was almost untouched and with good reason. The film is not very good. Most of the colors were gone, leaving a distinct red impression. In some scenes, however, the colors were gorgeous. The sound was very harsh and unpleasant. In some reels the center channel information came out of the left channel which was a bit confusing.

Further in 70mm reading:

Music Festival

Internet link:


Go: back - top - back issues
Updated 21-01-24