“As Good as it Gets”
Arri 765 70mm Demonstration Film
The 70mm Newsletter
by: Thomas Hauerslev, with help from
Bill Bennett and
frame from the demonstration film.
Original title: “As Good as it Gets” – Arri 765 Demonstration Film.
Filmed in: 65mm, 5 perforations, 24 frames per second.
Principal cinematography filmed in: ARRI 765 with Zeiss and
Hasselblad lenses. Presented in: 70mm. Aspect ratio: 2,21:1.
Country of origin: USA. Year of production: [_____] - [_____]
2006. Released by: ARRI Munich, Germany. World premiere:
7. November 2006, James Bridges Theatre, UCLA, Los Angeles, California,
Producer: Brad English, Jr. Exec. Producer – shooting:
David Cutler, Beach House Films. Director/Cameraman: Bill
Bennett, ASC. Assistant director: Don Blackburn. A Cam 1st
assistant: Pat Paolo. A Can 2nd assistant: Ambar Capoor.
Camera truck driver: Ambar Capoor. B Cam operator: Joey
Julius. B Cam 1st assistant: Scott Kassenoff. Behind the
scenes 16mm camera operator/Camera PA: Crystal Abeel. Key
Grip/Grip equipment: Mike Milella. Best boy grip: John
Maltpie. Screenplay: There were no script. Only an outline of
sequences. Film editor: Joey Julius. Composer –
part of 70mm track: Gayle Wayne. Cast (role): Katherine Beer
and Jen Johnson. Production company: Beach House Films.
Production assistant: Lenny Robertson. Production assistant:
Brad English, Sr. Camera car driver: Marshall Chabot.
Locations: Lone Pine, Alabama Hills, Death Valley, Sierra
Nevada mountains and Los Angeles. Lenses and support: Danny and
Terry Clairmont, Irving Correa (Clairmont camera). Camera Car:
Dean Goldsmith (Camera Car Industries). Support and on-camera
vehicles: Galpin Ford. Post production supervisor: Olga Orana
(Graystone Productions). Filmstock: 65mm Eastman color 5201 50D,
5205 250D for low light scenes and 5218 500T for the scenes of Disney
Hall in downtown Los Angeles. Eastman Kodak contacts: Randy
Sparrazza, Mike Zacula, Beverly Pasterczyk. Arriflex 765 camera, 35mm
435 Xtreme camera and Zeiss lenses: Director Franz Krauz, (ARRI
München), Bill Russel Stephen Ukas Bradley & Fred Martinez (ARRI
Burbank) and Charlie Tammaro (Camera Service Center, NY). Panavision
65mm camera and lenses: Phil Raiden. Laboratory: Foto-Kem,
Burbank, CA, USA: Andrew Oran, Jeff Heacock, Mary Chamberlyn, Mark Van
Horne, Kristin Zimmerman & Mario Allen. 70mm running time: 6
Notes about the filming: Filming based on practical
experiences of Kees van Oostrum, ASC, who directed and shot "We Fight
To Be Free" and Bill Bennett, ASC. Scenes were shot in 65mm 5 perf,
Anamorphic 35mm and Super 35mm Spherical, then combined through digital
Synopsis: A 70mm demonstration film
designed to explore the possibilities for improving image quality to
maximize the movie-going experience. Breathtaking imagery of two young
women trekking through the desert landscapes of Death Valley and the
lush forests of the Sierra Nevada mountains. The film also features a
drive through Los Angeles. Various: Screened in Pictureville
cinema, Bradford, England (Widescreen
March 2007, and Thursday 21 June 2007 at the James Bridges Theatre, UCLA
as a part of a 65 mm & 35mm Production; 4K Projection Demonstration.
70mm print was contact printed directly from the camera 65mm negative.
The 65mm negative was scanned at 8k resolution and down-sampled to blend
with the 35mm scanned at 6k in a 4K DI workflow.
in 70mm reading:
"As Good as it Gets"- Demonstrates
power of large format
...about the showings
ARRI 765 Film List
Panavision and the Resurrecting
of Dinosaur Technology
"As Good As It Gets" Demonstration Film Introductory Notes
Presented at the
2nd Todd-AO Festival at the Schauburg
In 2006, Kodak and Arriflex, plus the L.A. lab known as "FotoKem" cooperated
to produce a new demonstration film, to illustrate the significant benefits
of shooting on 65mm film.
Of course, we all know about shooting a larger negative, and how it delivers
a better image, but a lot of people -- even those working in the industry!
-- do not understand this. And, with the increasing use of "D.I.s" ("Digital
Intermediates") in post-production work, it was important to be able to
illustrate to the people out there that even using these D.I. processes,
that they could significantly enhance their exteriors, esp. long shots and
grand vistas, by using 65mm for the original photography -- and still have
those image(s) be compatible with the close-ups and dialogue photography
that might have been photographed on 35mm film or, possibly, even some kind
of HD capture device.
So, Director of Photography Bill Bennett, a member of the American Society
of Cinematographers was selected to be the "DP" for the project. Mr.
Bennett's most-often assignment, in his daily work life, is as a DP for
automotive commercials, so you know that there would have to be some scenes
of cars. But that wasn't to be it exclusively.
In order to show the versatility of the photography, and the process, it was
decided to have several exterior scenes, with some models, plus varied
conditions and locations.
The mountains of central California would be the location, and so
photography was done near Lone Pine, in the Sierra mountains of central
California. Various types of camera emulsions would be used, in varying
light conditions. (All the specifics of those details can be found listed on
the in70mm.com website.)
Some of the exteriors were in full sunlight, but, as fate would have it, on
one of the days of shooting there was a thin layer of high cloudiness,
leading to a somewhat "flatter" light than would have been the most
dramatic, ideal, for demonstration purposes. However, this was not a
Hollywood production with an unlimited budget, and they couldn't wait days
for the light to change, so they worked with the light they had at that
After the mountains and forests and lakes, of course there had to be a few
scenes of "city" views, and that's were the automotive scenes enter into the
picture. There are several scenes of cars, traveling the highways around
central Los Angeles, as well as some evening "magic hour" views of the new
Frank Gehry-designed "Walt Disney Concert Hall", to show off the incredible
sharpness of the camera process.
At the first public demonstration viewings of this film, in November 2006,
held at UCLA in Los Angeles, there were various versions of the movie shown,
including a 35mm print from a D.I., a 4K d-cinema version using the Sony 4K
projector, and of course, the 70mm print. After the evening presentations
were completed, there was still a bit of time, and the audience (a bunch of
Hollywood professionals, from various specialties in the post-production
field) was asked, "what would you like to see repeated?" -- the answer was,
the 70mm print. Clearly the audience favorite, and many of the younger
people present had never seen actual 70mm film, actually projected "in the
splendor of 70mm". The result spoke for itself.
The film does not have a completely synchronized soundtrack. Rather, there
is some specially-composed music to be played via a companion CD, with
approximate synchronization. That's why you will now see the countdown
leader projected, to help get the timing right ...
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