Photographed on 65mm Film
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|Written by: 65mm/70mm short stories picked up from the internet||Date: 10.11.2018|
"Isle of the Dead" is now shooting in 65mm in Norway
|Hans Kr. Bukholm and Anette Thorsheim shooting in 65mm in June 2016. Photo: Roger Sangolt. |
Art film in development. To be filmed for the big screen in the 65/70mm format. A visualization of human history and fight for survival throughout the ages. In June 2017 Vestnorsk Filmsenter granted BFD NOK 300,000 in production funding for the short film «Isle Of The Dead» – a visualization of human history and fight for survival throughout the ages. Compromising dancers set against a backdrop of a brutal coastal landscape and wide, stormy seas, set to music by Sergei Rachmaninov. Production will commence pending completion of financing. «Isle Of The Dead» will be BFD’s second production ["Svalbard - Arctic Seasons"] in the 65/70mm format.
Collaboration partners: Emil Stang Lund, production consultant, Carl E. Johannesen, production- and editing consultant. Anna Öberg, choreographer. Helge Sunde, photographer / advisor. Ragnar Bjerkreim, composer / music consultant. Jan Erik Paulsrud, editing consultant. Steinar Vatne / Signar Kristoffersen, technical advisor camera equipment modifications. Eirik Vie, language consultant. Hans Elias Bukholm Josephsen, digital consultant
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65mm Horror Short "Daughter of Dismay"
The 70mm Rumour Mill
Film Revival Gets Boost with New Large Format 65mm Processing Facilities in the UK
Logmar Camera Solutions and Whitepoint Optics attending CameraImage market 2018
Kodak is making investments in introducing 65mm film processing in Europe
Film Revival Gets Boost with New Large Format 65mm Processing Facilities in the UK
50 years in the making
|Guests in the V.I.P. viewing stands at Kennedy Space Center. Picture: Statement Pictures for CNN Films/Neon.|
A new cinematic space event film promises to show audiences the historic Apollo 11 first moon landing mission like they have never seen before. "Apollo 11", from director Todd Douglas Miller, will feature never-before-seen large format film footage of the 1969 mission that landed astronauts Neil Armstrong and Buzz Aldrin on the surface of the moon. The feature-length documentary is executive produced by CNN Films and produced by Miller's Statement Pictures. Apollo 11, the mission, will mark its 50th anniversary from July 16 through July 24, 2019. The film, "Apollo 11," bills itself as "50 years in the making."
From: collectspace.com. About: apollo11movie.com. Article in Vanity Fair
"Who Cares" in Ultra Panavision 70
|Frame grab from "Who Cares (Behind the scenes)".|
Sir Paul McCartney and Oscar-winning actress Emma Stone stars in a new musical short film, shot on 65mm film with Linus Sandgren behind the Panavision 65mm camera and lenses. "Who Cares" was directed by Brantley Gutierrez and Ryan Heffington. Director of photography was Linus Sandgren. The film was produced by Kyle Schember and Michael Abbott for Subtractive Inc.
"My hope is that if there are kids being bullied—and there are… Maybe by listening to this song and watching this video, they might just think it’s not as bad… that it’s the kind of thing you can just stand up to and laugh off and get through.”
'Who Cares', the newest single from Paul McCartney’s #1 charting Egypt Station (Capitol Records), has been reimagined as a musical short film starring Paul and Emma Stone. Shot on 65mm Kodak Film with Panavision Cameras, "Who Cares" features a message of universal positivity rendered in vivid colorful detail.
"Who Cares" on youtube + paulmccartney.com + hollywoodreporter.com
|Actress Juli Jakab as Irisz Leiter. Photo credits: Laokoon Filmgroup|
1913, Budapest, in the heart of Europe. The young Irisz Leiter arrives in the Hungarian capital with high hopes to work as a milliner at the legendary hat store that belonged to her late parents. She is nonetheless sent away by the new owner, Oszkár Brill. While preparations are under way at the Leiter hat store, to host guests of uttermost importance, a man abruptly comes to Irisz, looking for a certain Kálmán Leiter. Refusing to leave the city, the young woman follows Kálmán’s tracks, her only link to a lost past. Her quest brings her through the dark streets of Budapest, where only the Leiter hat store shines, into the turmoil of a civilization on the eve of its downfall.
Captured on Kodak 35mm and 65mm film, Sunset (Napszállta), by Hungarian director László Nemes and shot by his longtime cinematographic collaborator Mátyás Erdély HSC, paints a picture of mystery and anxious foreboding as the shadow of WWI fell over Budapest and the declining Austro-Hungarian empire. Such is their passion for film, Nemes and Erdély shot the wartime, trench-set epilogue scenes in Sunset using Kodak 65mm film. While the mainstay of Sunset was shot on 35mm, Erdély was eager to frame the movie’s disturbing footnote, set in the wartime trenches, with a distinct visual difference.
“The more we discussed this sequence – which could be the true or imagined experience of Irisz – the more we liked the idea of a hyper-real look,” he says. “So we decided to film that sequence on 65mm film, with a long dolly shot through the terrible of filth and dirt of the war-torn ditches. The result of using 65mm is extraordinary, with extreme realism in the detail. I’d love to shoot a whole film on 65mm, that’s my goal.”
"The Death and Life of John F. Donovan"
|Jessica Chastain on a teaser poster from "The Death and Life of John F. Donovan". Unfortunately, she has been cut from the film. |
"The Death and Life of John F. Donovan" set in London, England by French-Canadian director Xavier Dolan, is filmed in parts in 65mm with Panavision's System 65. No release date yet, but likely to debut at a film festival this fall. The synops goes like this: A decade after the death of an American TV star, a young actor reminisces the written correspondence he once shared with the former, as well as the impact those letters had on both their lives. Without giving away any surprises, Dolan’s storytelling approach with John F. Donovan appears to be very emotionally earnest via some scenes that look and feel much bigger in scope than anything he’s done before. He’s even shooting on 65mm, which the director said, “changed my life”. Dolan has played with various film stocks before, shooting in 1:1 ratio for Mommy and with IMAX cameras for Adele‘s “Hello” music video.
|“Before I started on the production, I knew in the back of my mind that film was the only way to show off the natural beauty of the enchanted forest,” says DP Matthias Königswieser about his decision to mix celluloid into the cinematographic recipe for Disney’s live-action production of Christopher Robin. “I knew by capturing nature on film, especially 65mm film, that it would have a tremendous impact on the audience. It would also be the ultimate homage to the stories and beautiful drawings from the original ‘Winnie-the-Pooh’ book.” For the dramatic entry into the Hundred Acre Wood and iconic Pooh Sticks Bridge scenes, the cinematographer selected a Panavision System 65 camera, fitted with a combination of Ultra Panavision lenses and spherical glass. "The 65mm footage we shot for Christopher Robin is undeniably the most beautiful thing I have ever seen,” declares Königswieser.|
"A Funeral for Lightning"
|Evan Prosofsky, my cinematographer, pushed to augment the 35mm with 65mm. He bought a used Super Panavision 70 [Article says: IMAX] camera that was at a massive discount from its original price, and bought 65mm short ends that were resold through Reel Good film, a dealer in the recan trade, purchased off "Interstellar". It was the first time that we had a film screen in a cinema, so we were so excited to see how the 65mm would hold up on the big screen, and it was mesmerizing. It is so surreal to have a camera in your possession that shot "2001: A Space Odyssey" and "Lawrence of Arabia". I think we both find it fascinating that with celluloid, you can lean into generations of film history. To use the same lenses, techniques, and even camera bodies fills your shooting day with meaning.|
Emily Kai Bock, director
“Star Wars: Episode 9”
|Today Kodak announced that in their processing facility in the U.K., they’ve added the capabilities to handle 65mm, and one of the projects listed to use Kodak 65mm stock is “Star Wars: Episode 9.” John Schwartzman will be reteaming with director Colin Trevorrow following “Jurassic World” (the press release mistakenly lists J.J. Abrams as the director of the film) to lens the project, and for both it’ll be a return to 65mm, which they partially used on the dinosaur blockbuster, though it sounds like ‘Episode 9’ will fully utilize the format.|
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