“Almost like a real web site”

Search | Contact
News | e-News |
Rumour Mill | Stories
Foreign Language
in70mm.com auf Deutsch


Todd-AO Festival
KRRR! 7OMM Seminar
GIFF 70, Gentofte
Oslo 7OMM Festival
Widescreen Weekend

Premiere | Films
People | Equipment
Library | Cinemas
Todd-AO Projector
Distortion Correcting

Ultra Panavision 70
Super Panavision 70

1926 Natural Vision
1929 Grandeur
1930 Magnifilm
1930 Realife
1930 Vitascope
1952 Cinerama
1953 CinemaScope
1955 Todd-AO
1955 Circle Vision 360
1956 CinemaScope 55
1957 Ultra Panavision 70
1958 Cinemiracle
1958 Kinopanorama
1959 Super Panavision 70
1959 Super Technirama 70
1960 Smell-O-Vision
1961 Sovscope 70
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
1976 Dolby Stereo
1984 Showscan
1984 Swissorama
1986 iWERKS
1989 ARRI 765
1990 CDS
1994 DTS / Datasat
2001 Super Dimension 70
2018 Magellan 65

Various Large format | 70mm to 3-strip | 3-strip to 70mm | Specialty Large Format | Special Effects in 65mm | ARC-120 | Super Dimension 70Early Large Format
7OMM Premiere in Chronological Order


Australia | Brazil
Canada | Denmark
England | France
Germany | Iran
Mexico | Norway
Sweden | Turkey

7OMM Projectors
People | Eulogy
65mm/70mm Workshop
The 7OMM Newsletter
Back issue | PDF
Academy of the WSW

• 2026 | 2025 | 2024
2023 | 2022 | 2021
2020 | 2019 | 2018
2017 | 2016 | 2015
2014 | 2013 | 2012
2011 | 2010 | 2009
2008 | 2007 | 2006
2005 | 2004 | 2003
2002 | 2001 | 2000
1999 | 1998 | 1997
1996 | 1995 | 1994

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.

Disclaimer | Updates
Support us
Table of Content

Extracts and longer parts of in70mm.com may be reprinted with the written permission from the editor.
Copyright © 1800 - 2070. All rights reserved.

Visit biografmuseet.dk about Danish cinemas


"As Good as it Gets"
Demonstrates power of large format

The 70mm Newsletter
Reprintet from Kodak's InCamera, July 2007 with permission Date: 20.08.2008
"As Good As It Gets" was presented last spring to an audience of avid movie fans during Widescreen Weekend at the National Media Museum in Bradford, England, along with 70mm prints of classic movies from the Motion Picture Academy of Arts and Sciences Archives. Bill Bennett, ASC traces the origins of the short film to a conversation that he had with ARRI Group Managing Director Franz Kraus when he visited their factory in Munich, Germany.

“We were talking about the state of the industry in general,” Bennett says. “One concern that we shared was the consistent diminishment of the quality of images seen in motion picture theaters compared to the 1960s and early ‘70s. During our conversation, we realized that two generations of movie audiences have never seen 70mm projection.”

Kraus suggested that Bennett design and shoot a demonstration film with the 65mm ARRIflex 765 camera that was introduced during the early 1990s. The cinematographer was also inspired by Emmanuel Lubezki, ASC, who used a combination of 65mm and 35mm formats while filming "The New World" with director Terrence Malick. Wide-angle shots were filmed in 65mm format and closeups in 35mm.

“It was something you felt while watching the film on a cinema screen rather than noticing it on a conscious level,” Bennett observes. “I decided to produce a demonstration with scenes recorded on 65mm, anamorphic 35mm and Super 35 film in order to compare the impact when the images are projected in various formats.”
More in 70mm reading:

"As Good as it Gets" - Afterthoughts

“As Good as it Gets” - cast/credit

"As Good As It Gets" Introductory Notes

"We Fight To Be Free"

Panavision and the Resurrecting of Dinosaur Technology

Internet link:

Kodak InCamera Magazine


Three formats

Bennet became enarmored with cinemtography while studying theatre arts at Trinity University in San Antonio, Texas. After completing his formal education in 1973, Bennett moved to Los Angeles determined to become a filmmaker. He was hired by legendary commercial director Ron Dexter, ASC, initially as a prop man. Bennett likens his work with Dexter and later with commercial shooter Sid Avery to graduate school. He has subsequently filmed more than 1,000 television commercials around the world.

Following his discussion with Kraus, Bennett developed a plan and recruited a crew and cast consisting of two young actresses. They spent three days filming sequences at scenic, exterior locations. The first sequence was filmed at Whitney Portal in the Sierra Nevada Mountains near Lone Pine, California. One scene had both actresses standing next to a waterfall. They were surrounded by a forest of pine trees. Bennett filmed wide-angle and close-up shots with matching framing in the three formats.

The next scene consisted of two set-ups in the nearby Alabama Hills. One was a long dolly shot with a pickup truck driving past the performers. The other was a curved tracking dolly shot going past one of the actresses who was standing on top of a large rock. Bennett filmed establishing and close-up shots in all three formats.


The final scene was filmed at Minaret Summit near Mammoth Lakes at sunrise with the two women hiking through a high mountain meadow with peaks looming in the background. There are other shots of them canoeing at nearby Convict Lake surrounded by high mountain peaks and a stunningly beautiful sunset.

Bennett says that he was especially careful in the selection of backgrounds, framing and focusing 65mm shots because every detail can be seen when the film is projected in 70mm format. FotoKem in Burbank, California, processed the negative and transferred the images to a digital file used for offline editing. The conformed 35mm negative was scanned at 4K resolution and the 65mm film at 6K resolution by ARRI Film & TV Services in Munich on ARRISCAN film scanners.

Bennett heard that Kees Van Oostrum, ASC had used 65mm film for wide-angle shots and 35mm for close-ups during the production of "We Fight To Be Free", a documentary about the life of George Washington. That 22-minute film is featured in two theaters at the Visitors Center at Washington’s estate at Mount Vernon, Virginia. Van Oostrum embraced the opportunity to show 35mm and 65mm shots from "We Fight To Be Free" projected in the various formats as part of the presentation.

"As Good As It Gets" was initially presented to some 300 students, faculty and filmmakers from all sectors of the industry at the University of California Los Angeles’ James Bridges Theater. It was projected in the 4K compressed digital format recommended by the Digital Cinema Initiative (DCI) sponsored by the major Hollywood studios, uncompressed 4K digital format, and on 35mm and 70mm print film.

Four times more

InCamera July 2007 edition.

“Seeing is believing,” Bennett says. “You have to judge for yourself. We could see and hear the reactions of the audience when both the 65mm shots and 70mm print film were projected on the screen. It’s not about projecting prettier pictures. It’s about the emotional connection that occurs when the audience gets pulled deeper into the film.”

The presentation was capped by projecting a scene from "The Sound of Music" in 70mm format. That classic film was produced in Todd-AO 65mm format in 1965. The scene featured Julie Andrews singing the title song to the von Trapp children. They are on a grassy hill overlooking an endless horizon. “It was a stunning experience to be reminded, or see for the first time, how compelling the movie-going experience was 40 years ago,” Bennett says.

“As Good as it Gets” has been taken to the next level. FotoKem has re-scanned the 65mm scenes at 8K resolution. Andrew Oran, vice president, Sales & Operations Large Format, at the postproduction facility explains that a five-perforation, 65mm wide frame has the capacity to capture more than four times more information than a four-perf 35mm frame of film composed in 2.4:1 aspect ratio.

He says, “A 1,000 ft roll of 65mm negative scanned at 8K resolution will produce more than 1.4 terabytes of picture data. Film is also a proven archival medium which ensures that the movie will be there for future generations of fans.”

Bennett observes, “State-of-the-art 65mm cameras and lenses are available for lower rental fees than the best 35mm film and digital equipment, and the higher raw stock and lab costs generally amount to a very small part of the budget. Kees (Van Oostrum) estimated that the higher cost for shooting about 10 percent of "We Fight To Be Free" in 65mm format was a fraction of a penny for everyone who will see the film.”

He concludes, “We are on a mission to show this demonstration to as many people as possible with the hope that it will inform and inspire them"
Go: back - top - back issues - news index
Updated 21-01-24