
“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
|
 |
PRESENTED IN 70MM
• Super Technirama 70
• MCS 70 |
DEFA 70
• Dimension 150
• Sovscope 70
• ARRI 765 |
Blow-up
• 35mm to 70mm
• Blow-Up by title
• IMAX |
Cinema 180
• Showscan |
iWERKS
• Various 70mm Films
• Large Format Engagement
• Chronological
Order
VISION,
SCOPE & RAMA
• Cinerama |
Film
• Archive |
Remaster
• Cinemiracle |
Rama
• Cinerama 360
• Kinopanorama
• Circle Vision
360
• Realife |
Grandeur
• Natural Vision
• Vitascope |
Magnifilm
• Early Large Format Films
7OMM CINEMAS
• France |
Germany
• Denmark |
England
• Australia |
USA
LIBRARY
• SENSURROUND
• 6-Track Dolby
Stereo
• CDS |
DTS/DATASAT
• 7OMM Projectors
• People |
Eulogy
• 65mm/70mm Workshop
7OMM NEWS
• 2025 | 2024 | 2023
• 2022 |
2021 |
2020
• 2019 |
2018 |
2017
• 2016 |
2015 |
2014
• 2013 |
2012 |
2011
• 2010 | 2009 |
2008
• 2007 | 2006 |
2005
• 2004 | 2003 |
2002
7OMM NEWSLETTER
• 2005 |
2004 |
2002
• 2001 |
2000 |
1999
• 1998 |
1997 |
1996
• 1995 |
1994 |
PDF
|
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

|
| |
Photography of "The Master" in 65mm | Read more at in70mm.com The 70mm Newsletter
|
Written by: The Weinstein Publicity department | Date:
27.09.2012 |
Poster
decoration in New York. Image taken 25. September by Sebastian Roascker
Though THE MASTER is wholly fictional, Paul Thomas Anderson set out to
present the world of The Cause with a visceral and transporting realism. To
capture both authentic period details and the imagined environs of The Cause
on sea and land, he worked with a devoted crew, many of whom have forged a
kind of family of their own, reuniting again and again on his productions.
One major, if entirely intuitive, decision immediately set the film off on a
very individual course: Anderson’s choice to shoot THE MASTER with the now
exceedingly rare 65mm film stock. From the start, he knew he wanted a
distinctive period look – and after immersing himself in the vibrant tones
and textures of such 50s cinematic classics as VERTIGO and NORTH BY
NORTHWEST, Anderson hoped to mirror that supersaturated lushness, merging it
with his own signature style of stark lyricism. With imagery spanning from
the roaring sea to the shadows and light at play within the characters, 65mm
seemed a perfect match for the broad contours of the story.
There was a time when 65mm stood at the very apex of cinematic processes,
but today it has been relegated mostly to the making of IMAX® and other
large-format films. In the heyday of Hollywood’s wide-screen epics,
companies such as Todd-AO and Panavision hailed 65mm as giving audiences the
crispest, clearest images, from the most panoramic vistas to the most
personal close-ups. Numerous 60s classics including LAWRENCE OF ARABIA, WEST
SIDE STORY, MUTINY ON THE BOUNTY, LORD JIM, MY FAIR LADY and 2001: A SPACE
ODDYSEY revealed the power of the film stock to deliver that ineffable extra
punch of vitality. But by the 1970s the increasingly high cost of the film
stock caused a rapid decline. A brief resurgence in the 1980s saw such films
as BRAINSTORM, TRON and THE BLACK AULDRON reviving the format, but that was
short lived. More recently, the only films shot entirely on 65mm have been
Kenneth Branagh’s 1996 HAMLET and Ron Fricke’s non-narrative films BARAKA
and SAMSARA. (Christopher Nolan’s INCEPTION and THE DARK KNIGHT and Terrence
Malick’s THE NEW WORLD include some 65mm footage and special effects
sequences, but were shot primarily in 35mm.)
Anderson says the choice started as an exploration, but became a commitment
once he saw the fit with the storytelling of THE MASTER. “The idea was
something initially suggested by Dan Sasaki, Panavision's lens technician,
after I'd inquired about Vista Vision Cameras from the
8 50s, just to play around with and figure out how some of these 50s films
created their look,” he explains.
| More in 70mm reading:
"The Master" in 70mm Cast & Credits
"The Master" in 70mm, Venice
"The Master" in 70mm, New York
"The Master" in 70mm, Los Angeles
"The Master" in 70mm Release
Motion pictures photographed in Super Panavision 70 & Panavision System
65
Now showing in 70mm in a theatre near you!
"The Master" production notes (PDF)
Internet link:
"The Master" on the web
Film Home page
Cigarettes and
Red Wines
Guide to 70mm
The Master Wiki
The Weinstein Publicity
"The Master" surpasses per-screen box office record; 70mm release
appeals to cineastes, younger audiences -
Variety report
"The Master": Framed in 65mm for Maximum Visual Impact -
Kodak InCamera
Mihai J
Malaimare
|
A
strip of 65mm negative from "The Master". Image by Paul T Anderson, and made
available for in70mm.com by Cigarettes and Red Wines web site
He goes on: “We started shooting with a 65mm Studio Camera and everything we
were seeing started to feel very right. It gives you a wonderful, strong
image, but more than the resolution or anything like that, it simply seemed
to suit this story and these characters. Things could feel antique without
feeling precious or a re-enactment of a particular style. It’s hard for me
to describe it other than to say, it felt right.”
JoAnne Sellar felt similarly. “It was so fitting for a film like this with
so much visual texture,” she says. “But it was also a real learning process
because a lot of the knowledge of working with 65mm has been lost. There
were considerable challenges involved. We were only able to find three
Panavision cameras, so it was challenging when they broke down, and the lab
process is also very complicated.”
Daniel Lupi adds: “Panavision went totally out of their way to service us in
using cameras that have largely gone unused for decades. At times we had a
guy from Panavision staying with us, just so he could handle technical
issues with the cameras.” Throughout filming, Anderson would project the
dailies using a 65mm projector as well. “I think it’s a large of his
creative process, watching the dailies and conforming his vision to that,”
explains Lupi. “He has a very organic process.”
The filmmakers are gratified that some audiences will get a chance to see
the film in 70mm projection. “In an ideal world, audiences can enjoy the
film in 70mm. There are still theaters playing 70mm films, thank goodness.
Long may they wave,” says Anderson.
| |
About the Editing
|
|
As
principal photography of THE MASTER came to a close, Anderson worked with
editors Leslie Jones and Peter McNulty to weave the imagery with his
distinctive rhythms and pacing. McNulty did a first cut and then Jones, who
previously received an ACE nomination for her work on Anderson’s PUNCH-DRUNK
LOVE, came on board. She was taken right away with the footage.
“Peter did a beautiful first cut of the film and I was impressed with the
complexity in both Freddie and Master's characters as well as the depth in
their relationship. I was surprised at how the love story between these two
men so gracefully became the focus of the film,” she comments.
She spent the next six months working closely with Anderson to chisel the
final narrative. “The primary challenge in editing was to focus the
relationship between Freddie and Master, and to connect Master's teachings
with the struggles that Freddie experiences in his life – his experience of
always running from something,” Jones explains. “We found ultimately that
the more invested we were in Freddie’s experience the more we believe his
attraction and need for a ‘Master.’ And, at a certain point, it became
less about the characters as individuals but more about these two men and
their attachment to one another.”
While the 65mm photography had no impact on the editing, it became a
distinct challenge as the release prints were prepared. Jones explains: “I
rarely made a distinction between the two formats while viewing the footage.
Nor were editing considerations made based on the 65mm format. It wasn't
until picture was locked and we began working with Fotokem on release prints
that we felt the impact. We had to prepare the finished film for both a 70mm
and 35mm release, which was like working on two separate movies. And because
Paul likes to do a film finish we were cutting negative and timing photo
chemically, so it was very time consuming.”
Nevertheless, concludes JoAnne Sellar: “For all the complications of using
65mm, I think
for Paul it was well worth it. It’s an attempt at saving the beauty of real
film.”
| |
| | Go: back - top - back issues - news index Updated
07-01-23 | |
|