French 65mm production which unites 70mm film and live theatre
ARRI 765 running at 30 frames per second for "Jesus Etait Son Nom" / "Jesus Was His Name"

French 65mm production

One of the more unusual 70mm applications at the Hall was the presentation of the French production of "Jesus Was His Name", a staging of the story of Christ told with live actors working below and in front of a large 78´ x 26´ (22,3 x 10 m) screen which carried a 70mm image both as scenic background and with actors integrated into the presentation.

A special projection cabin was installed in the Orchestra of the Hall. The presentation used two Philips DP75 projectors with 10,000 watt lamphouses. Two prints were run simultaneously, one as backup, from platters at 30 frames per second. While the film tracks carried some of the show sound, the projectors were locked to digital tape decks both by shaft encoders and by time code on the film mag tracks. The performers wore receivers which received cues to enable them to interact with the picture. The language of the presentation could be changed by changing the digital tape which was locked to the film.

The use of the 30 f.p.s. film speed (not generally seen since the early Todd-AO presentations) enabled the larger wattage lamps to be used. The digital inter-locking to integrate live and film action made a technically fascinating interesting production.

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70mm frame from French production "Jesus Was His Name". Note the thick frame line and man with slate.

30 years on, Bob added:

Thomas,

Boy, did you trigger some memories this morning when you asked about "Jesus Was His Name". That was the most bizarre event at the Hall while I was there and maybe ever. As a result I think there's a collective wish by every one who was there to wipe it from our memories. I didn't even have it in the all inclusive list I have of every movie that played the Hall even though it was on 30 fps 70mm film along with the live action.

Since it may have been the only production Radio City DIDN'T want people to see there was no advertising and no reviews. I was able to track down an article from the United Press that listed the play dates as June 2 - 13, 1993.

At that point we had cancelled the show, but then someone noted a clause in the contract as saying we had to do the scheduled performances.

That created another problem. There had been complaints from several groups both Jewish and Catholic that the portrayal of Judas was anti-semitic and the last thing Rockefeller Center wanted was to have religious groups picketing outside the Hall so it was decided to do one performance with limited seating. Since the third mezzanine wasn't to be used the front lighting truss was lowered. When we were told to do all performances, the third mezzanine was opened and now you couldn't see the stage from there because the truss was in the way so the whole show had to be relighted with the truss raised.

Even stranger, they decided Judas couldn't be seen. In a production meeting one of our execs suggested that we go through the print with a Crayon and hand color Judas out. I said at 30 fps they would need a BIG box of Crayons! I suggested they go up to the art department and cut a length of coat hanger out and glue a round piece of cardboard to one end. Then the road projectionist could hold it in the light beam to block Judas out and that is what they did. In doing so I had created not a spot light operator but a spot DARK operator! I never bothered to patent the idea.

So you brought back a lot of memories this morning.