“Almost like a real web site”
 

IN7OMM.COM
Search | Contact
News | e-News
Rumour Mill | Stories
Foreign Language
Auf Deutsch

WHAT'S ON IN 7OMM?

7OMM FESTIVAL
Karlsruhe | Gentofte
Krnov | Varnsdorf
Banská Bystrica
Oslo | Bradford

TODD-AO PROCESS
Films | Premiere
People | Equipment
Library | Cinemas
Distortion Correcting
DP70 / AAII Projector
 

VISION, SCOPE & RAMA
1926 Natural Vision
1929 Grandeur
1930 Magnifilm
1930 Realife
1930 Vitascope
1952 Cinerama
1953 CinemaScope
1953 Panavison
1954 VistaVision
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
1962
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1966
Stereo-70
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
1974 SENSURROUND
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 | Early Large Format
7OMM Premiere in Chronological Order

7OMM ON EARTH

Australia | Brazil | Canada | China | Denmark | England | France | Germany | Holland | India | Iran | Israel | Ireland | Mexico | Norway | Poland |  Russia | Spain | Sweden | Turkey | USA |

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

7OMM NEWS
• 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 | Staff
Testimonials
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

 

Magellan 65 Presented in Hollywood
Magellan CineGear 2018 - The Talk of the Town

Read more at
in70mm.com
The 70mm Newsletter
Written by: Tyler Purcell. Pictures By: Orla Nielsen Date: 02.06.2018
The Magellan 65 finally arrived in Hollywood.

In years past, Cingear has been littered with film cameras, but those days are long gone. This year however, we are introduced to a new film professional film camera; the Magellan 65. Guests swarmed the booth trying to get a look at the two rough prototypes brought by the three-person team from Denmark. They were a sight for sore eyes in a expo dominated by digital cameras and for sure one of the highlights of the show.

I sat down with the engineering team for the Magellan 65 and started learning about the design process. From the ground up, the camera is designed to be not like anything else on the market. Everything anyone else has done before was ignored because if you do what everyone else does, you no longer have a unique and different product. The Magellan 65’s design is based on the Logmar Super 8 camera in essence, with an oscillating mirror digital viewfinder, built-in video recorder with audio and very slim movement. This design philosophy is nearly identical to the Magellan 65, using a very simplistic movement, super clever shutter/mirror design and a beautiful 1080p or 4k video based viewfinder. Optical viewfinders are very difficult to make, heavy and bulky. Without them, the camera can be made much smaller and that was Logmar’s design philosophy.
 
More in 70mm reading:

Designing Logmar's ultra-light Magellan 65 Camera

Logmar Camera Solutions premieres a new hand-held 65mm Camera

Panavision and the Resurrecting of Dinosaur Technology

The Hateful Eight is a Wonderful Cinematic Experience for the true Cinefile

Nolan's "Dunkirk" will feature over 100 minutes of IMAX material

Internet link:

 
The CineGear Jury taking a look a the Magellan 65

65mm seems like an unusual product for 2018, the last “new” 65mm camera came out in the mid 90’s and it was a complete failure. This was mostly due to it’s size, reliability and cost. To most people’s shock, there are only 7, 5 perf 65mm cameras for rent in the entire world today. Panavision has 5, two of them are “sync sound” cameras, each weighing 80lb, but super quiet. Three of them are “MOS” cameras, each weighing 54lb, but producing around 70db of sound, so incapable of being used for critical set audio recordings. Arri has 2 765 cameras, of which I believe there were only 8 ever made. One of those cameras is in the US and the other is in Europe. Arri has been unsupportive of the 765 project for the last 6 years, so when cameras fail, they basically aren’t fixing them. So with 7 cameras in the entire world for rental in 2018, there is absolutely a demand, especially a lightweight camera for sync sound production.

The Magellan 65 project has been going on for around 2 years now. The goal was to produce a lightweight 5 per 65mm film camera that could replace the current aging cameras and offer design features that would modernize film cameras in general. There are so many 16mm and 35mm cameras on the market, 65mm seemed to be the best format to start with. It’s also a niche that nobody has touched since the 90’s and one that even the mighty Panavision, whose 5 perf 65mm cameras are constantly being rented, wouldn’t get near.
 
 
Logmar's Rodolfo Zitellini, Chief Technology Officer demonstrating the Logmar 65 to Ziryab Ben Brahem

Clearly the model shown at cine gear is a prototype, it’s missing so many of the critical things like light seals on both the body and magazine. However, they do work and they will be the basis for the final camera which they’re hoping will be ready for shooting sometime towards the end of this year. The prototype has many things missing, but rest assured, nearly all the comments I made, were things they knew and are going to address. Little things like an inching button, more power taps, PL mount, some sort of integration for Arri base plates, etc. They have been talking to Arri about a partnership when it comes to lenses and accessories, but it’s early stages. For the time being, Logmar needs to continue development, do film tests and eventually make a finished product. Also, the current product isn’t very quiet, so they are already developing a “sync sound” version, which will be slightly bigger to offer more room for soundproofing. This is actually done in most cameras by separating the movement from the housing with rubber mounts, something that is not very difficult to do. The “studio” version would also be capable of using 1000ft magazines, which the current model is restricted to 500ft.

Logmar’s current plans with the Magellan 65 are up in the air. For the time being, they will be trying to use rental houses as the means to get the camera into the hands of filmmakers. They’re also thinking about opening up a development office here in the states to help oversee production with the camera when it does happen. As of this writing, I would assume these things are a year or so away, but we’ve waited this long for a decent small 65mm camera, so what’s a little bit longer?
 
 
Logmar's Rodolfo Zitellini, Chief Technology Officer demonstrating the Logmar 65 to Ziryab Ben Brahem, a young film maker working with VistaVision

• Go to VistaVision Strikes Back

I personally am very excited where this camera is going because I do see a finished product being successful. I think some of the design philosophies are brilliant and well executed. Arri and Panavision have re-used movements from other, much older cameras to make their 65mm variants and now we have an all-new design that’s radically different, what could be better? Yes, there will need to be some significant changes made for this to be a viable solution for Hollywood, but I do think the Logmar team are not only up for the challenge, but I think they’re going to deliver a fantastic product in the end. A few top cinematographers were on hand to check out the Magellan 65 and all of them had positive things to say, including myself. I can’t wait to see their next iteration and I hope to one day get the opportunity to use one.
 
 
Hoyte van Hoytema

• Go to "Dunkirk" filmed in 65mm with IMAX cameras

 
 
Dutch-Swedish cinematographer Hoyte van Hoytema trying the Logmar 65
 
 
Linus Sandgren
 
 
Swedish cinematographer Linus Sandgren trying the Logmar 65
 
 
 
 
Dave Strohmaier and Orla Nielsen. Picture by Carin-Anne Strohmaier
 
 
Orla Nielsen. Picture by Carin-Anne Strohmaier
 
 
Magellan 65. Image by Dino W

 
 
Magellan 65. Image by Dino W
 
 
Magellan 65 brochure. Image by Dino W
 
 
Magellan 65 brochure. Image by Dino W
 
 
Magellan 65. Image by Dino W
 
 

Danish Magellan 65 Camera Team

 
Left to right (Picture by Paul Rayton, Hollywood):

Orla Nielsen, DoP, DFF - Director of Photography, and Product Test Manager, Logmar Camera Solutions, Denmark.

Tommy Madsen - Chief Executive Officer. Logmar Camera Solutions, Denmark

Rodolfo Zitellini, Chief Technology Officer, Logmar Camera Solutions, Denmark.

• Go to Designing Logmar's ultra-light Magellan 65 Camera

• Go to Logmar Camera Solutions premieres a new hand-held 65mm Camera

• Go to Gallery: The Magellan 65 Camera

• Go to Gallery: Behind the scenes with Tommy Madsen, CEO Logmar
 
 
   
Go: back - top - back issues - news index
Updated 28-07-24