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Todd-AO Festival
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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 | Early Large Format
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• 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.
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in70mm.com News 1999

The 70mm Newsletter Issue 56
Cinerama Downunder
70mm's Last Stand? - The Future of 70mm
Ole Olsen of UIP in Copenhagen, Denmark
By Thomas Hauerslev
I was not destined for the cinema business at first, but circumstances directed me into it. My father ran the cinema at the Danish Film Museum in Frederiksberggade in downtown Copenhagen. It was a childhood full of film. My brothers and I saw films all the time.
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

The 70mm Newsletter Issue 57
70mm in France
International 70mm Publishers Meeting
2001 bit and pieces
"Originally Kubrick wanted to shoot 2001 in the wide-screen format of 1,85. "I said, You've got to make it visceral. If you are going to put people in space there's nothing bigger than 70mm wide screen to do that and Cinerama is even better because it would be curved, and he agreed".
"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?
Freddie Young
By Tony Sloman
Freddie Young achieved a dazzling hat-trick, unequalled and unrivalled, in being triple-Oscared for three movies, all of which premiered in the 70mm format, leading them a scale and distinction that, despite the punctilious direction of master craftsman director David Lean, would have unquestionably remained wanting without the contribution of the great Frederich A. Young's camerawork.
Jan Jacobsen
By Gerhard Fromm
Jacobsen met with Mr. Travnicek and Mr. Pinelli and they convinced him to develop a European version of the highly successful Todd-AO process. So was "MCS 70" founded and in a short time Jacobsen and his small team built six 65mm 5-perf field cameras.
There Were Giants in the Land: Stanley Kubrick
By Tony Sloman
If David Lean´s three 70mm epics are but flawed masterpieces, there is no doubt that two of the finest 70mm movies, indeed two of the finest works in all cinema, are "Spartacus" and "2001:A Space Odyssey", both directed by Stanley Kubrick, who passed away in his sleep March 7, 1999 at the relatively early age of 70, having just delivered his last, and inevitably long-gestating and ultra controversial movie, the highly erotic "Eyes Wide Shot".
Remastered: Mission Report Widescreen Weekend 1999
By Thomas Hauerslev
his was the 5th festival of its kind. Most of the films shown during the busy weekend were in 70mm and 3-strip Cinerama, two very popular film formats among the audiences. What follows here is a collection of memories garnished with some pictures of guests and crew from the Pictureville Cinema.
Widescreen Weekend 1999
By Thomas Hauerslev
Bill Lawrence introduced Louis de Rochemont III who received a standing ovation from the audience. Louis directed "Windjammer" and had not seen the film in 40 years. The experience was overwhelming, and I am almost certain that Louis had a tear in his eyes. Louis signed many autographs after the film.

Go to Gallery: Bradford, Widescreen Weekend 1999

The 70mm Newsletter Issue 58
Video Projection Revolution: The Phantom Improvement
The Lost Kingdom
Looking for DEFA 70
LFCA Conference 1999
"CineSpace 70" Credits"
Lee Parker & Richard Vetter
Demonstration Film in four major parts. Purpose of the demonstration film is to show the merits of filming with updated 65mm Todd-AO cameras. Following examples are included: zoom, steadicam, low light, high speed, slow motion, time lapse, CU's to infinity, aerial, under water, exterior, people, nature, daytime, nighttime, extreme wide angle to telephoto etc.

• Go to Radio City Music Hall
• Go to gallery Radio City Music Hall, New York City, USA
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

The 70mm Newsletter Issue 59
Planning and Running the American
Cinematheque's First 70mm Festival
The Rivoli Theatre
By John Belton
In preparation for the premiere of “Oklahoma!”, the Rivoli underwent an extensive, $350,000 renovation, including the installation of a new booth and new 1600 seats

• Go to Film Restoration on the eve of the Millennium

How to Create the Best experience in the Cinema
By Thomas Hauerslev
Films like "Titanic" and "Braveheart" should have been shot in 65mm simply because they are "big" movies. But shooting in 65mm doesn't need to be limited to the obvious mega productions. Small independent movies would benefit enormously with the sharper picture. I'd enjoy seeing films like "Enemy of the State", "As Good As It Gets" and "You've Got Mail" and many more, shot on 65mm stock and presented in 70mm.

• Go to
in70mm.com News 1999

Online: 02-06-1999. Updated: 15-04-2024