“Almost like a real web site”
 

IN7OMM.COM
Search | Contact
News | e-News |
Rumour Mill | Stories
Foreign Language
in70mm.com auf Deutsch

WHAT'S ON IN 7OMM?

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

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

PANAVISION
Ultra Panavision 70
Super Panavision 70
 

VISION, SCOPE & RAMA
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
1962
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1966
Stereo-70
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
1974 SENSURROUND
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

7OMM FILM & CINEMA

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

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

7OMM NEWS
• 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
Testimonials
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

 

"Pearl Harbor" in 70mm DTS
Super Premiere "Love" in Tokyo Dome

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

Written by: Mike B Smith, DTS
Issue 66 - November 2001

The poster. Press for enlargement.

On June 21st 2001 DTS participated in film and sound History. The event took place at the Tokyo Dome in Japan, which is located in the center of the city. It is home of the Tokyo Giants Baseball Team.

 

Further in 70mm reading:

What is 70mm DTS
Films in 70mm DTS
"Dinosaur" in 70mm DTS
"ID4 in 70mm DTS
"Blackadder" in 70mm DTS

Internet link:

Digital Theater Systems

Because of it's odd shape, locals refer to the Dome as the Big Egg. The structure itself is very amazing. The entire roof is constructed from a membrane of fiberglass coated with Teflon. Air is pumped into the dome increasing inside air pressure, causing the membrane to swell outwards; this creates the roof, or ceiling. The membrane allows natural light to come in during the day.

The pressure difference is about .0003 atmospheres relative to outside. There is a large air lock allowing big trucks to drive in and out, and yet not disturb the pressure difference. No, your ears do not pop every time you enter or leave the Dome. The difference in this pressure is equivalent to the difference between the ground level and a 9th floor of a building. The Dome is used for other things besides baseball; such as concerts and, in this case, a very very big premier.
 
 
Stars arriving

Planning for this event began over a year ago. The American premier of "Pearl Harbor", at Pearl Harbor, Hawaii on an aircraft carrier was shown in SDDS 35mm 8-track. The premiere in Tokyo was much larger and would need a bigger screen. In addition a 70mm print would be necessary. DTS, the only digital system that can easily supply 70mm digital sound on film, was considered the first choice. 

The setup at the Dome consisted of two projection booths constructed out of scaffolding 88 meters high. The primary projection room was at the very top. A backup projection room was located in the level below. The sound system consisted of a total of eight DTS-6D systems.
 
The DTS 8-track Playback System.

For DTS 8-track to work, two DTS-6D players were locked together to act as one. The first player had channels 1 - 5, which were assigned Left, Left Center, Center, Right Center, and Right. These are the stage channels and are located behind the massive screen that was approximately 50' tall with a 115' width. The second DTS-6D player held the last three channels 6 - 8. These channels were assigned Subwoofer, Left Surround, and Right Surround. The subs were located behind the screen and the surrounds were above the second level seating area. The movie runs about three hours and two minutes. Because of the length, normally only two show discs would be required, however in this special case a total of four were used to support 8 -track.


 
 
The rear of the screen.

When you add things up including back up, eight players were running with sixteen discs spinning all for one film. The reason for the secondary projection system and so many extra DTS players are merely for emergency back up in case of some type of failure. The DTS players had been wired in such a way that if a failure should occur in the pair that was currently playing, it would automatically revert to another DTS system. The only manual emergency procedure would have been to switch to the back up projector in case of primary projector or lamp failure and of course a film break. 

Everything went well and only the primary projection system and the first set of DTS players were necessary. 
 
View from upper level.

Screen size was 50 feet tall with a 115-foot width. Video screens on both sides showed commercials during pre-show. The black box in lower right is the projection rooms. Just in front and below the projection rooms is the elevated VIP seating area. Although no exact numbers were given, it was estimated that twenty-five to thirty thousand attended the show.
 
 
Projection Room Structure

Note the projection ports. Top was the primary projection room, with the back up below. This structure was built on Home Plate and stood 88 meters. Yes it did sway a bit, especially when people came up or went down the stairs. Because it was not too stable the picture also moved, therefore no one was allowed up or down during the show.

Two projection rooms one above the other for a total of 88 meters high.


 
 
Note how straight the rows are laid out. The Japanese are very precise and set the seats up using string for perfect alignment. 


 
 
Sign advertises for the film.

Note the Japanese symbol before "in Tokyo Dome" it translates to the word "LOVE" Because of the sensitive content of this film it was feared that it might cause problems so it was promoted as a love story. Not all Japanese read English, so the Japanese symbol was used to insure everyone could read the word love.
 
Main entrance into the Tokyo Dome.

Sign above door says, "Pearl Harbor Super Premiere Love in Tokyo Dome". Due to the nature of the content the show was advertised as a love story. All tickets were free, you had to request them from magazine ads. Although free, scalpers were selling tickets out front. 
 
 
The dome outside  
Projection equipment  
 
Go: back - top - back issues
Updated 21-01-24