“As Good as it Gets”
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| Compiled by: Thomas Hauerslev, with help from Bill Bennett and Paul Rayton | Date: 05.07.2007 |
 70mm
frame from the demonstration film. Katherine
Beer and Jen Johnson. Note
the colours and curves. 70mm frame blow up.Original title: “As Good as it Gets” – Arri 765 Demonstration Film. Filmed in: 65mm, 5 perforations, 24 frames per second. Principal cinematography filmed in: ARRI 765 with Zeiss and Hasselblad lenses. Presented in: 70mm. Aspect ratio: 2,21:1. Country of origin: USA. Year of production: 2006. Released by: ARRI Munich, Germany. World premiere: 7. November 2006, James Bridges Theatre, UCLA, Los Angeles, California, USA. Producer: Brad English, Jr. Exec. Producer – shooting: David Cutler, Beach House Films. Director/Cameraman: Bill Bennett, ASC. Assistant director: Don Blackburn. A Cam 1st assistant: Pat Paolo. A Can 2nd assistant: Ambar Capoor. Camera truck driver: Ambar Capoor. B Cam operator: Joey Julius. B Cam 1st assistant: Scott Kassenoff. Behind the scenes 16mm camera operator/Camera PA: Crystal Abeel. Key Grip/Grip equipment: Mike Milella. Best boy grip: John Maltpie. Screenplay: There were no script. Only an outline of sequences. Film editor: Joey Julius. Composer – part of 70mm track: Gayle Wayne. Cast (role): Katherine Beer and Jen Johnson. Production company: Beach House Films. Production assistant: Lenny Robertson. Production assistant: Brad English, Sr. Camera car driver: Marshall Chabot. Locations: Lone Pine, Alabama Hills, Death Valley, Sierra Nevada mountains and Los Angeles. Lenses and support: Danny and Terry Clairmont, Irving Correa (Clairmont camera). Camera Car: Dean Goldsmith (Camera Car Industries). Support and on-camera vehicles: Galpin Ford. Post production supervisor: Olga Orana (Graystone Productions). Filmstock: 65mm Eastman color 5201 50D, 5205 250D for low light scenes and 5218 500T for the scenes of Disney Hall in downtown Los Angeles. Eastman Kodak contacts: Randy Sparrazza, Mike Zacula, Beverly Pasterczyk. Arriflex 765 camera, 35mm 435 Xtreme camera and Zeiss lenses: Director Franz Krauz, (ARRI München), Bill Russel Stephen Ukas Bradley & Fred Martinez (ARRI Burbank) and Charlie Tammaro (Camera Service Center, NY). Panavision 65mm camera and lenses: Phil Raiden. Laboratory: Foto-Kem, Burbank, CA, USA: Andrew Oran, Jeff Heacock, Mary Chamberlyn, Mark Van Horne, Kristin Zimmerman & Mario Allen. 70mm running time: 6 minutes. Notes about the filming: Filming based on practical experiences of Kees van Oostrum, ASC, who directed and shot "We Fight To Be Free" and Bill Bennett, ASC. Scenes were shot in 65mm 5 perf, Anamorphic 35mm and Super 35mm Spherical, then combined through digital intermediate postproduction. Synopsis: A 70mm demonstration film designed to explore the possibilities for improving image quality to maximize the movie-going experience. Breathtaking imagery of two young women trekking through the desert landscapes of Death Valley and the lush forests of the Sierra Nevada mountains. The film also features a drive through Los Angeles. Various: 70mm print was contact printed directly from the camera 65mm negative. The 65mm negative was scanned at 8k resolution and down-sampled to blend with the 35mm scanned at 6k in a 4K DI workflow. Screened in: • Pictureville cinema, Bradford, England (Widescreen Weekend) 18. March 2007 • James Bridges Theatre, UCLA, Los Angeles, USA Thursday 21 June 2007 as a part of a 4K Projection Demonstration. • 3rd Todd-AO Festival, Schauburg, Karlsruhe, Germany, 7 October 2007 • KRRR! 14th 70mm Film Fest Krnov 2019, April 2019 |
More
in 70mm reading: "As Good as it Gets"- Demonstrates power of large format "As Good As It Gets" Introductory Notes "As Good as it Gets" - Afterthoughts ARRI 765 Film List Panavision and the Resurrecting of Dinosaur Technology Internet link: |
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