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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
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in70mm.com, a unique internet based magazine, with articles about 70mm
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Visit biografmuseet.dk about Danish cinemas
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DoP Mikael Salomon's introduction to "Far and
Away"
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Read more
at
in70mm.com
The 70mm Newsletter
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Written
by: Mikael Salomon, ASC, DFF |
Date: 05.10.2006 |
Panavision's
advert for the System 65 camera celebrating the completion of principal
photography of "Far and Away". Big
smiles in Ireland from Mikael Salomon and Ron Howard.
"Far and Away" began as a small film which Ron [Howard] and I talked
about making, while shooting "Backdraft" in Chicago. Ron have his
family roots in Ireland and he thought it would be fun if I hired a small
Danish film crew to make
"Far and Away" (which originally was known
as "The Irish Story") as a low budget production - quite the opposite
of "Backdraft". When Tom Cruise came on board we could forget all
about "the little film". Everything got bigger and more ambitious. "The Land
Race" would involve more than 500 horses and "re-enactors" from all over the
United States, so I suggested we looked into what it meant for the budget if
we shot in 65mm. My thought was, the larger the budget we had, the
difference between shooting in 35mm and 65mm would be smaller.
Business was moving in favour of 65mm at that time since
Panavison
had
rebuilt two older hand held 65mm cameras for reflex viewing for the
"The Abyss" (so you are able to see the image through the viewfinder while
the camera was running. That was not possible with the older [rack over]
cameras.) Following "The Abyss" a lot of visual effects were made on
65mm stock thanks to the large negative. Both Panavision and
Arriflex
decided - independently of each other - to build new modern 65mm sound
cameras
Eastman Kodak agreed to sell us 65mm raw stock for the price of 35mm in an
attempt to reactivate 65. Numerous times during pre-production we shifted
back and forth between 35 and 65, since Universal was trying to save money.
The argument that really hit the nail on the head, was sound quality.
Sound
would be much better with 6 magnetic tracks compared with 35mm optical
sound. This argument does not hold any longer, and is probably the main
reason why it is now impossible to convince anyone to film in 65. And now,
since "Superman" is being filmed with the "Genesis" digital cameras
from Sony/Panavision - it is probably the end of using large camera
negatives.
"The rest is history"
I had - especially in the beginning - huge problems
with Panavision's lenses, since they were not built for 65. I also used ARRI's new ARRI765 camera which could go up to 120 frames per second. I used
a VistaVision camera for the helicopter shots since it was impossible to
secure the 65mm cameras safely in the helicopters. For some of the scenes in
the "land race" I used some Bell & Howell 35mm EYMOs with anamorphic lenses
- which later was blown up to 70mm. We could not risk destroying the very
few 65mm cameras with horse wagons or other stunts.
Best wishes with
"Far and Away",
Mikael Salomon
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More
in 70mm reading:
The Irish Story: On the trail of "Ryan's Daughter" & "Far and Away"
The 70mm Promotion
Tour: San Francisco & Los Angeles 1 - 15 October 1994
Motion
pictures photographed in Super Panavision 70 & Panavision System 65
Panavison Large Format Motion
Picture Systems
Kodak Finalizes Motion Picture Film
Agreements with Major Hollywood Studios
The Hateful Eight
"HAMLET"
Schauburg Cinerama, Karlsruhe,
Germany. Home of The Todd-AO Festival
Widescreen Weekend
"CUT" with ARRI 765. A Unique Analogue
Workshop Event
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Go to "Far and Away" - Mikael Salomon introduction |
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21-01-24 |
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