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in70mm.com News 2002

4-track mag at the Egyptian
By Richard Greenhalgh
On December 8, 2002, the American Cinematheque screened a very interesting and unique piece of motion picture history, as a part of their excellent 4-Track Mag Stereo Film Festival, as they described in their announcement: "4-Track Magnetic Stereo and Cinemascope Demonstration Film" 1953, 20th Century Fox, approx. 90 min.
Discoveries from the "Around the World in 80 Days" Collection
By Brian Tavers
The Library's “Around the World in 80 Days” footage consists of 426 reels of picture and sound track material, in several languages, in 16mm, 35mm and 70mm.

Go to Dust to Dust
The Passing of Bill Shaw
William C. Shaw, one of the founders of IMAX Corporation, died on Saturday, August 31 at age 73. Shaw died in a Toronto hospital after suffering complications from a heart attack. Shaw joined Graeme Ferguson, Roman Kroitor and Robert Kerr in 1968 to design and develop the IMAX projection system.
"Cinerama Adventure" update
By Dave Strohmaier
The documentary is in Director's cut and is 100 minutes long. A lot has changed since the early versions. We have shown it around Los Angeles at several "test screenings" and also at professional documentary film maker private screenings to get some needed feedback. It's all on history now with nothing on Bradford, Ohio or Seattle.
"This is Cinerama"'s Cinerama Dome
By Enthusiastic Cinerama Fans
On the evening of September 30, 1952 the feature-length travel log "THIS IS CINERAMA" debuted. 50 years later, on October 4, 2002 it returns with a newly reconstructed print and seven-channel stereophonic sound - presented in its ORIGINAL THREE-STRIP PROJECTION SYSTEM on the huge, deeply-curved Cinerama Dome screen!
70mm at the City Screen York
By Darren Briggs
Screens 1 and 2 are equipped with two projectors enabling changeover shows to be performed for screening archive prints etc. Being a fan of 70mm and large screen formats for many years, I wanted to upgrade Screen 1 to 70mm as soon as I was given the chance. In December 2001, after a conversation with Tony Jones, he gave the go ahead
Who is Greg Kimble?
Greg Kimble is a classically trained visual effects supervisor with credits dating back to the Special Edition of "Close Encounters". An avid "Trekie," his first screen credit was on the original Star Trek film, where he shot all the Klingon war birds and the V'ger craft.
Restoration of “Patton”
by Michael Pogorzelski
Showscan enters liquidation process
by Greg Faris
Canadian 70mm and Cinerama screenings
by Bill Kretzel
Willem Bouwmeester 2002 member of the Academy of the Widescreen Weekend
Wide Screen In LA, Fall 2002
by Bill Kallay
"Cinerama Adventure" in Telluride
by Dave Strohmaier
Immersive Cinema Technologies Will it Continue?
by Mark Andrew Job

An Interview With Jim Ward, V.P. of Marketing, Lucasfilm, Ltd.
By Bill Kallay
Jedi Knights, Imperial Storm troopers and Tusken Raiders rejoiced this past summer of 2002, when it was announced that "Star Wars: Episode II-Attack of the Clones", would be released in the IMAX format. For how many years have fans of the original trilogy, and now prequels, wished upon the stars above Skywalker Ranch for the films to be shown on the giant IMAX screen?
Filming of "Lewis and Clarke" in IMAX
By Kurtis Burr
One of the biggest challenges in doing an IMAX film about "Lewis and Clark" is trying to capture the incredible scenery they would have experienced almost 200 years ago.

• Go to Cinerama's 50th Anniversary
An Interview With Roy Conli, Producer of "Treasure Planet"
By Bill Kallay
I came to Disney in 1993 and worked on the development of "The Hunchback of Notre Dame" and was co-producer on that film. I went to France to run the French unit, and then ended up staying for three years running the French studio, where I worked on the production of "Hercules" (1997) and "Tarzan" (1999). And then I came back here five years ago to produce this film. And previous to that, I was in the theatre.
"How the West Was Won" screening at the Dome
by Richard Greenhalgh with Rick Mitchell

Go to "How The West Was Won" - in Cinerama
2002 LFCA
By Bill Kallay
Universal Studios, Imagine Entertainment and IMAX recently unveiled their plans to re-release the 1995 film, "Apollo 13", in IMAX later this summer, re-titled as Apollo 13-The IMAX Experience. The film went through IMAX's proprietary software process, DMR, to enlarge and de-grain the Super 35mm images for presentation on the IMAX screen. In addition, the 2.40:1 aspect ratio has been re-worked into 1.66:1.
The Lion King: The IMAX Experience An Interview with Don Hahn
By Bill Kallay
My favorite sequence in IMAX is when Mufasa's ghost shows up, Simba goes to the reflecting pool, sees his reflection, and then all of the sudden, the clouds form and Mufasa shows up. That's a stunning scene in IMAX. To see a six-story tall apparition coming at you is very moving.

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

26 Things Movies Taught You
By Bill Kallay
Rather than wasting bullets, megalomaniacs prefer to kill their archenemies using complicated machinery involving fuses, pulley systems, deadly gasses, lasers and man-eating sharks, which will allow their captives at least 20 minutes to escape.
Halloween Movie Safety Tips

The 70mm Newsletter Issue 67
What is Todd-AO?
"Baraka" cast and credits
The Amazing Optical Adventures of Todd-AO
By Jeff Hecht
Todd had just launched Cinerama, a wide-screen system that put the audience in the middle of the action. Yet he knew the cumbersome three-projector Cinerama system dated from before World War II, and had split with his partners even before the first Cinerama film opened.
Hollywood Comes to American Optical Co.
Roy C. Gunter Jr.
O'Brien was interested in what Todd said about Cinerama and sent Siegmund to New York to look at the system. He reported back to O'Brien that while the optical system was not really sophisticated, the audience response to the wide screen was clearly favorable.
In the Splendour of 70mm
By Grant Lobban
During the first few years of this century the wide gauge films were abandoned in favor of the smaller and more economical 35mm width. For example the Biograph Company made its last 68mm subject in 1905 and in 1912 the 35mm Edison format was internationally adopted as the professional theatrical standard.
Die Herrlichkeit von 70mm
Von Grant Lobban
In den ersten Jahren dieses Jahrhunderts wurden Breitbildformat-Filme zu Gunsten der kleineren und ökonomischeren 35mm-Breite aufgegeben. So stellte die Biograph Company beispielsweise ihr letztes 68mm-Format 1905 her, bis 1912 war das 35mm-Edison-Format zum internationalen Standard der professionellen Lichtspielhäuser geworden.

• Go to
The Importance of Panavision

• Go to
in70mm.com News 2002

Online: 02-06-1999. Updated: 21-01-2024