Dr. Richard Vetter about ClearVision 2000
Loosely transcribed notes based on a telephone conversation in the very early 2000s
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The 70mm Newsletter
|Edited by: Rayton & Hauerslev||Date: 01.01.2020|
|Our new 65mm project, and some facts about this new technology. We are doing major changes and updates to our cameras and lenses. Future changes include adjustments and updates to projection system, and the screen. We are using the newest stocks, the very high resolution film offered by Kodak. Their modern film stocks are just fantastic.|
Put all these things together and the pieces fit. We have a whole new 70mm experience, which is exciting. When we have all of it put together, along with my final evaluation of the screen, then we will be happy with it. We will put together a story I think will be exciting to people like you and me and others who appreciate the potential of 70mm.
We have the rights to a novel which is a kind of modern day Indiana Jones type of kind of picture. It has a lot of great locations visually. We are not yet set on a producer and a director, but we are leaning toward a group of people, probably based in Pinewood, London.
Good friends over there, Barbara Bach [Broccoli] and the James Bond group. They won't be involved in production, but they will help us to assemble the right cast and crew. Everything we need to operate from our London home base. Financing is no problem. It is a solid, big budget picture, but the people we would like to work on this picture are so busy!
My leader and financier will promote the superiority of new and updated 70mm cinematography and projection. 30 frames per second goes without question. A wide release, and 35mm scope release shown in 30 fps. Image dimension perf to perf, with outboard time code (outside the perfs) for the sound. Mag sound, as you know, is gone. The projection aperture is opened up to 2,40:1 aspect ratio. It is no problem in theatres to set screen masking. We think it is a good practice to keep 70mm and 35mm at the same aspect ratio. It gives us a nice panoramic view to the picture and no cropping. No funny grooves in the camera viewfinder glass any more.
It is set close to perf-to-perf with some protection. Camera operators looking at aspect ratio and the composition area tell us that the ratio will be good for 70mm and 35mm scope, and even video letterboxing. Total alignment and no compromise in cropping.
We have handpicked several classic old lenses. Some of them are marvelous and we have also added a few newly-made lenses. They are setting a new high criteria in terms of resolution. ISCO are making new printer lenses to make new internegatives from 70mm. We need new lenses because the current laboratory lenses date back 25-30 years. We need new optics.
We are not using the COSHARP printer. We see things critically and need to see 70mm. We have to see what we have. That is the only way. The only way we can see what we have on the film is to view 70mm dailies from 65mm originals.
We have filed a couple of patents, and counting on using the ARRI 765 and the totally rebuilt AP-65 cameras. Panavision have been very cooperative on a very friendly basis. There is no competition. We have taken the Todd-AO Camera department, which has been bought by the former owners of United Artists Theatres. Todd-AO company is now only sound and post production. My financial leaders own more than 80% of the Todd-AO stock.
All our equipment is maintained at Fries Camera and we will rename the systems [to ClearVision 2000] with focus on the [Todd-AO] AP camera.
|More in 70mm reading:|
CineSpace 70 / ClearVision 2000 by Todd-AO
PDF: US6242150 patent ClearVision 2000
Compact Distribution Print by Todd-AO
Todd-AO 65mm Camera AP-65
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