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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.

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Visit biografmuseet.dk about Danish cinemas

 

FILMS IN ULTRA PANAVISION 70
Go to Motion pictures photographed in MGM Camera 65 / Ultra Panavision 70

ULTRA PANAVISION 70
The MGM PANAVISION Enlarged-film System
By
Douglas Shearer
To make our system universally adaptable a 65mm negative has been chosen having standard perforations with the incorporation of a mild anamorphic squeeze in the taking lens system.
Ultra Panavision 70 - almost like a real story
By Rick Mitchell
Due to a financial investment from MGM, the new format was initially known as "MGM Camera 65". Because, one of its design considerations was to yield higher quality 35mm anamorphic prints, directors, cinematographers, and camera operators were instructed to keep important action within the safe action area of 2.35:1 anamorphic 35mm prints with an optical track.
65/70mm Rules
By Rick Mitchell
Last night at a special program at UCLA's Bridges Theater devoted to unusual film picture and sound formats, two examples of 65mm origination and 70mm presentation were shown.
Ultra Panavision 70, Early lenses
By Tak Miyagishima
These earlier lenses were all engraved as having a power of 1.33X but were never used having that power. We started designing these lenses with the power of 1.33X and had to alter the power but didn’t change the engraving.

• Go to Ultra Panavision 70 - Adjustment and modifications

Go to The Widest Story Ever Told
Panavision and the Resurrecting of Dinosaur Technology
By Tyler Purcell
After seeing the 70mm test footage, there was a rousing applause. The next thing we saw was a DCP version of the material and it really shows how proper film projection truly trumps digital. The blacks were mushy and undefined, the highlights were clearly peaking and the whole image looked flat. All of that beautiful depth seen in the film projection was lost. We sadly realized this format, developed in the 50's, is still better then all the money we've thrown at conventional digital projection.

Camera 65 and the Metro Bourke Street Bigger than…
By Eric White
The Bourke Street Metro was a two-gallery theatre, like the Collins Street Athenaeum, and as was the case there, the projection rake was quite steep.
To Split or not to Split ... That is the Hollywood Question!

VINTAGE 65MM PANAVISION
Prepared for in70mm.com by Brian Guckian, Dublin, Ireland
• Go to “PANAVISION”...new wide screen system
Enry Provisor, Professional Cine Photographer December 1953
• Go to The Super Panatar Variable Type Anamorphic Lens
Robert Gottschalk, President, Panavision, Inc., Hollywood. Calif. Motion Picture Herald 3 July 1954
• Go to The New Ultra Panatar Lens
Film Daily 18 March 1955.
• Go to MGM Adopting Panavision's 65mm Process on Big Films
Daily Variety 27 April 55
• Go to METRO TO FILM TOP PIX IN 65M
Hollywood Reporter 27 April 1955
• Go to New Process to Be Used For Top Pix, With Prints Also in Standard, C-Scope
Film Daily 27 April 55. West coast bureau of the Film Daily
• Go to
Panavision 65 Projection: What It Can Accomplish
Film Daily 1 November 1957. Panavision section Friday, November 1, 1957
• Go to Panavision Enters Independent Production
International Projectionist, November 1957
• Go to Up, Down, Up, Down
Bob Whearley, Long Beach Press Telegraph 16 Feb 1958
• Go to Wide Screen – shoots in the dark!
By Henry Provisor, Home Movies, September 1958

 
 

• Go to
The Importance of Panavision

1959
“Ben-Hur”
By Mike Coate
Commemorating the golden anniversary of Metro-Goldwyn-Mayer’s 1959 production of “Ben-Hur”

1962

• Go to
“Mutiny on the Bounty”

1963

• Go to It’s a Big, Big, Big, Big Screen: The 70mm Presentations of “It’s a Mad, Mad, Mad, Mad World”
• Go to "It's A Mad Mad Mad Mad World" (2010)

• Go to Facts about the new "Mad World" 70mm print

Go to "It's a Mad, Mad, Mad, Mad World" 40th anniversary

1965

• Go to
“The Greatest Story Ever Told”

• Go to
“The Hallelujah Trail”

• Go to “Khartoum”
"Khartoum" in Ultra Panavision 70
By Rick Mitchell
A new 70mm print, of one of only nine films shot in this widest of formats, was shown at the American Cinematheque's Egyptian Theater 18. May 2008

 

• Go to Ken Annakin. Director in Ultra Panavision 70

• Go to
“Battle of the Bulge”

1989
"An Homage To D W Griffith" A short Film In Ultra Panavision 70
By Dan Sherlock
The last Ultra Panavision 70 film that was released was reportedly KHARTOUM in 1966. As it turns out, there was one more Ultra Panavision 70 short subject that was made over 20 years later. In 1988, the equipment and lenses were used for a special short subject that was also the only time the format used a speed of 30 frames per second rather than the normal 24 frames per second format.

2015

• Go to Quentin Tarantino's "The Hateful Eight"

PHOTOGRAPHED WITH 65MM PANAVISION EQUIPMENT

• Go to
Motion pictures in Ultra Panavison 70

• Go to Motion pictures in Super Panavision 70
 

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