| |
Around The 70mm World In Thirty Seven Days |
Read more at in70mm.com The 70mm Newsletter
|
Written and photographed by: Brian Walters, Brisbane, Australia |
Date:
04.06.2014 |
DP70
#1622 in Bradford. Machine donated by Nordisk Film, Denmark in 1998. D-150
lens donated by Dr. Richard Vetter.
The above trip happened this year departing Australia on April 8th and
returning home to Brisbane on May 14th. While I did at times feel a bit like
Phileas Fogg, having to make key connections for various forms of transport,
including planes, trains, buses and ferries, my trip was a little less
adventurous but very interesting none the less.
First port of call for 70mm viewing was the National Media Museum for the
2014
Wide Screen Weekend
International Film Festival. The event was
introduced by Duncan McGregor, National Media Museum programmer and one part
of his introduction that drew an interesting remark from the row behind me
was when he announced that there would be no more screenings of magenta
coloured films as part of the Wide Screen Weekend. I could not help but over
hear two film enthusiasts sitting behind me say that they would rather watch
a faded 70mm roadshow release print than a DCP. These comments obviously
reflected their desire to take in the original six track magnetic sound mix
of the film with directional dialogue and vocals as well as the sharpness of
these quite often first generation prints. My own thoughts were that I found
it rather curious that a Media Museum would not wish to show nostalgic,
historically significant films because they were faded, especially when
these faded 70mm prints may be the only surviving examples of the title in
theatrical release format.
|
More in 70mm reading:
The H8 Down Under
The 70mm Trailer Anomaly
70MM Film Event at Biffen,
Aalborg Denmark, 26. April 2014
Odyssé til Aalborg
Oliver Michael Todd in
Conversation with Thomas Hauerslev
Widescreen Weekend, Bradford,
England
DP70 / Universal 70-35 / Norelco AAII
- The Todd-AO Projector
Internet link:
|
Curved
Stage Curtain in Bradford.
The event was also to be a 60th anniversary celebration of Vistavision which
was showcased by an opening night DCP presentation of “White Christmas“,
the first film in the process. This was surprisingly a 2K only version with
colours that were a little unnatural and flesh tones that were a little
reddish. An original 35mm Dye Transfer Technicolor trailer that screened as
part of Sunday’s Cineramacana event showed the original look of the film.
Following this screening there was a 70mm screening of " The Big Blue“,
what a pleasure it was to view a sharp 70mm blow up with good colour
rendition that had a nicely dynamic sound track. On the schedule for Friday
was the
restored
version of the Cinerama travelogue “Seven Wonders Of The
World“ presented in DCP 2K format on the curve. The screen result on this
was excellent considering the deteriorating condition of the original film
elements. David Strohmaier pointed out during his introduction that the
preservation scan of the negatives had been done in 3K resolution on each
panel, so that technically in the future a 9K DCP could be produced. Due to
the fading colour there were limitations to the colour saturation that could
be achieved, but overall it looked very good with some movement between
panels reminding the audience of the format that they were watching, with
the accompanying sound being both directional and dynamic. Following this
there was a presentation of the restored 70mm short “Fortress Of Peace“ in
2K DCP format which was restored from a faded positive 70mm print and which
looked remarkably good on screen, also presented on the curve. Trailers for
"The Golden Head“ and “Search For Paradise“ also looked quite good on
the curve screen. In the afternoon there was a 70mm presentation of “Big
Trouble In Little China“, an average quality 70mm blow up with a
surprisingly subdued sound track with no surrounds evident from this over
the top action feature. I decided to skip the DCP evening event of "The Way
We Were“ and enjoyed the company of some English projectionist delegates at
one of the local pubs, exchanging film projection stories from the good old
days.
Day three opened with an hilarious
introduction by Wolfram Hannemann, of his Widescreen Weekend documentary
“Remembering Widescreen“ a series of interviews with organisers and
delegates explaining what widescreen meant to them. Following this was an
extremely detailed report by Cinerama aficionado David Coles, “Searching
For Paradise“ a behind the scenes look at the very challenging conditions
that the production team faced during filming. This lead into the restored
version of “Search For Paradise” with similar results to the presentation
of “Seven Wonders of The World“. Some more severe colour fading to parts
of the negative at times, gave the sky a decidedly more green than blue
look, where the full original colour was unable to be retrieved from the
negatives. After a short break there was the 35mm presentation of “For A
Few Dollars More“ which looked wonderful, considering the emulsion area
restrictions of the Techniscope process it was filmed in. The Dolby Digital
sound track however presented an example of how not to mix a directional
dialogue sound track which this mono film never originally had anyway. When
four track magnetic dialogue techniques were originally employed the idea
was to have the centre channel sound mixed with left channel as the actor
moved in that direction to achieve a pseudo L/C sound position and then move
into left channel. With the mix on "For A Few Dollars More“ the actor’s
voice leapt into left channel only, as soon as the actor made a move in that
direction and vice versa for right channel, making for a very annoying sound
mix.
|
|
Odeon
Leicester Square, London advertising "Noah".
Saturday night was the presentation of “West
Side Story“ in 70mm and Datasat sound on the curve, with the original six
track sound mix. This was a wonderful presentation with a newish print in
good condition, sharp and with little grain. The panning of dialogue and
vocals across the five stage channels was exceptional, demonstrating a sound
mixing technique that is sadly no longer employed. When watching the famous
opening scenes of the film, with the camera looking down on the Manhattan
skyline, I couldn’t help but think that this was a blow up from 35mm
Panavision, because as soon as we touch down on the basket ball court the
image is razor sharp and virtually grainless. When director Robert Wise
filmed his next 70mm feature, the Todd-AO production of
“The Sound Of Music“ using the even more famous opening aerial shot of Julie Andrews on an
Austrian hill top, he used the lighter weight
MCS 70 camera as acknowledged
in the opening credits for the aerial photography. With this opening, the
picture quality is consistent from the aerial shots to the ground shots on
the hill top. Could the difference in quality in the opening shots of “West
Side Story“ have been because the
Super Panavision 70 cameras used for this
film were too heavy or large for the helicopter, and Robert Wise was forced
to use a lesser format? It was another twelve months or so after the
release of “West Side Story“ that the first 70mm feature film
blow ups, ie.
“Taras Bulba“ and
“The Cardinal“ would be released, but
Panavision must
have had the technology to be able to do this well in development during the
production of “West Side Story“, and so could this film have actually
contained the first 70mm blow up footage from a 35mm Panavision camera,
albeit uncredited in the film ? I have never read anything to this effect,
but possibly some readers of in70mm.com may have further information on
this, to confirm or refute this theory?
Sunday morning was the traditional
Cineramacana with a mix of many formats on the flat and curved screen.
Highlights were new three strip film presentations of the trailer for “How
The West Was Won" and the
Renault Daphne ad, thanks must go to
Dave Strohmaier for the picture and
John H. Mitchell for the sound tracks. Dave Strohmaier pointed out during the introduction that John H. Mitchell’s
home
based facilities are now the only place on the planet where 35mm full coat
magnetic sound tracks can now be recorded since Chase Audio has pulled the
plug on this sound format after having completed the sound track recording
for “In The Picture“ last year. There are not enough words to adequately
acknowledge the incredible contribution that John H. Mitchell has made to
the preservation of the original three strip film format of Cinerama. Other
films of interest during Cineramacana were two faded reels of 70mm which
were well received by the audience, these were from “Camelot“ followed by
a tribute to Peter O’Toole with
“The Lion In Winter“. Reel six from
“My
Fair Lady“ in 70mm and full colour from the 1994 restoration was also
screened and well received, though the print looked very dark on screen.
Later in the day I attended the 70mm
presentation of “Terminator 2“ a good blow up, quite sharp and with little
grain and a nicely dynamic sound track. The final screening for me was the
night session of “It’s A Mad, Mad, Mad, Mad World“ on the curve,
projecting an Ultra Panavision 70 squeeze print through an
Ultra Panatar
1.25 X 1 anamorphic attachment coupled to an Isco T Kiptagon projection
lens. The result on screen had the large negative sharp look of this classic
comedy, which I enjoyed far more than I was expecting. Directional dialogue
was used but unfortunately only employed on three of the five stage channels
in this datasat sound mix.
|
|
Brian
Walters and Nigel Wolland in front of a GK21 projector.
The next day it was off to London and I caught up with Nigel Wolland retired
chief projectionist of the Odeon Leicester Square, who was kind enough to
give me a guided tour of the nearby cinemas. The Odeon Leicester Square is
an incredible venue with it’s huge facade dominating the square. On visiting
the bio it was good to see that one of the Cinemeccanica Victoria 8 35 / 70
projectors was still in the bio along with the Chrisitie 35/70 platter,
though it has been some time since any 70mm has been screened there. The
cinema has separate white and silver screens, with the appropriate screen in
place for 2D and 3D presentations. Another interesting cinema was the Prince
Charles Theatre which unfortunately no longer has the Philips DP75
projectors but at least has a Kinoton FP30D that is frequently used for 35mm
film presentations. Their film enthusiast audience apparently prefers to
watch film presentations where possible even to the point of damaged prints,
rather than watch a DCP digital presentation. I found this interesting, but
understandable as digital imaging in cinemas being more or less the same as
what you watch at home on data projectors or large screen television
monitors has taken the last point of difference that cinemas had over home
entertainment away, and silver screens that have been installed in most
complexes for 3D capability further compromise the look of 2D digital
presentations. We also visited the bio of the British Film Institute with
it’s Imax main auditorium. It was well equipped with two Imax Digital
projectors, a double head Imax film projector and associated platters for 2D
and 3D presentations. There was also a Century JJ 35 / 70 projector that had
a shaft encoder coupled to the projector’s shutter shaft for separate
magnetic sound tracks. Their 70mm print of "Ryan’s Daughter" is in this
format, with the print being image only and needing a separate full coat
magnetic sound track coupled to it for it’s presentation. After a day of
London sight - seeing it was enjoyable to have a couple of pints with Nigel
in a London pub reflecting on past adventures in cinema projection rooms.
One I found particularly interesting was the season of “Notting Hill“ at
the Odeon Leicester Square when a super 35 flat print was screened with SDDS
only sound to allow for the sprocket hole to sprocket hole image to be
projected. This print was specially done to satisfy the film’s director who
found the conventional anamorphic print’s picture quality unsatisfactory at
the time. This Super 35 flat format was of course utilised to great effect
for 70mm blow ups such as
“Dance Craze“, “Silverado“ ,
“Top Gun“ and
probably best of all for “Howard’s End“ who’s incredible picture quality
in low light and bright scenes alike made it hard to believe that it was in
fact a blow up.
|
|
Kris,
the Chief Cinema Technician from the Kinepolis in Lille, Francois Carrin and
myself in a café.
From London I travelled to France by train
where Francois Carrin,
Wide Screen Academy Member, met me at the Lille train
station to again bless me with local knowledge and give me a guided tour of
70mm cinema points of interest. We visited the 23 screen Kinepolis complex
near Lille, which is a most impressive complex. Opened in 1996 near the end
of the 70mm era it none the less equipped the seven largest screens with 2 x
Century JJ 35/70 projectors on each of these screens. Some of the screens
are still 70mm capable, even since it’s change over to digital projection
keeping the possibility alive of future 70mm screenings. Francois was kind
enough to invite me to stay with him and his wife Nadine for a couple of
nights, where I enjoyed some wonderful home cooked French cuisine, before we
set off for Paris. In Paris we visited the UGC CINE CITE LES HALLES 27 screen complex the largest
cinema complex in France. This also impressive complex is of course all
digital and two Philips DP70’s that remain on site are to be set up as a
display in the foyer. Francois returned to Valenciennes that afternoon, and
the next day I was able to have a look inside the bio of the
Max Lindner Panaroma cinema, a large auditorium with a 20 metre curved screen in it. The
bio now has one digital and one Kinoton FP30D and the former DP70’s have
been removed. The chief projectionist Pascal was on site and I asked him
when the last 70mm film was screened there, he said 8 years ago they ran the
restored version of “Play Time“, I asked what it looked like on screen, and
closing his eyes to remember he said magnifique !!
|
|
Curved
screen of Schauburg Cinerama, Karlsruhe, Germany.
Leaving Paris the next morning I was on a high speed train to Karlsruhe to
visit the famous Schauburg Todd AO cinema there, of course also equipped
with a Philips DP70. It was Easter Monday and the projectionist on shift
gave me a tour of the bio equipped with a Philips DP75 also plus Christie
and Kinoton digital projectors with Dolby CP 200 and DTS XD10 sound
processors. Unfortunately the annual Todd AO festival at the Schauburg is in
October, so I will have to catch up with this on another film odyssey.
The next morning I was on my way to Stuttgart to visit 70mm enthusiast Hans
Haennsler who had not long returned from the 70mm festival in
Krnov in the
Czech Republic. Hans showed me what remained of the 70mm sites of Stuttgart
and where the famous Atrium cinema was with it’s pair of DP70’s now long
gone. A plaque on a wall is all that remains to testify to the glorious wide
screen past of this site.
|
|
Biffen's
DP70.
Next stop was Copenhagen where it was great to finally meet up with Thomas
Hauerslev, the editor, who I have corresponded with for 25 years since
Johann Wolthius had first formed the International 70mm association in 1988,
bringing like minded wide screen enthusiasts in contact with each other. The
next morning Thomas, Anders Olsson, a Swedish 70mm enthusiast, and myself
enjoyed a five hour scenic train ride to Aalborg for the very special 70mm
event celebrating the twenty fifth anniversary of the
”Biffen“ cinema
opening. This turned out to be an amazing day celebrating not only Biffen,
but the 70mm film format. The morning session was a screening of "West Side
Story" in 70mm and Datasat sound in the original six channel sound mix like
in Bradford but using a different print supplied by the Dutch Film
Institute. The presentation was superb with the Biffen’s curved screen in
perfect proportions for the cinema and the quite steep stadium seating
giving you perfect site lines for this in your face, high impact
presentation. The image was bright and sharp evenly across the screen with
the wonderful original six channel sound mix panning vocals and dialogue
beautifully across the stage channels. Following lunch in the foyer
Thomas Hauerslev presented an interesting history of the Todd AO process with a
PowerPoint presentation that was interspersed with various 70mm film clips.
The screening of 65mm test footage used to sell the Todd AO process to
Rogers and Hammerstein was fascinating with mock up scenes that would be
used in the film and was first screened at a cinema in Buffalo New York in
1953 to convince Rogers and Hammerstein to sell the rights to “Oklahoma!” to
the newly formed Magna Theatre Corporation. The film in Ansco colour was
still almost full colour and it was interesting to note that the frame lines
were in the centre of the sprocket holes not between them so there would
have been no framing difference between 35mm and 70mm. This was to change
with future release prints, and so a half a hole of framing adjustment was
always required between the two formats because of the odd and even amount
of sprocket holes per frame difference between the two formats. Other film
clips of interest were from the curved screen
steep projection angle
corrected prints of "Oklahoma!",
"The Miracle Of Todd-AO",
"Scent of Mystery",
"The
March Of Todd-AO" and a clip from a recent print of "South Pacific".
|
|
Oliver
Michael Todd and Brian Walters with a 70mm clip from "Around the World in 80
Days". Image by Thomas Hauerslev
At the end of the presentation Thomas interviewed guest of honour
Oliver Todd, grandson of Mike Todd for a very interesting insight into his life.
After dinner at a nearby restaurant we were treated to a 70mm presentation
of “2OO1: A Space Odyssey“ for the evening session. I had not seen this
film in 70mm since screening it for six weeks during it’s tenth anniversary
re-issue in 1978. This magnetic sound print from the 2001 re-issue was
bright, colourful, sharp and with less grain than I was expecting, going on
reports on the film at the time of the 2001 re-issue. The sound was
certainly the best I had ever heard this film sound and the whole
presentation was a wonderful experience in this amazing venue. Orla Nielson
can be indeed proud of what he has created in Biffen, and the short film
that was screened showing the building and fit out of the cinema complex
earlier in the day was so very interesting.
The next morning it was another 5 hour train ride back to Copenhagen, but
this time with an extra companion as Oliver Todd decided not to fly back to
CPH but instead come back with Thomas, Anders and myself on the train. This
gave over to further discussion on all things relating to Todd AO and
specifically to discussions about “Around The World In 80 Days“ , “Scent of Mystery“ aka
“Holiday In Spain“ and Oliver’s young life growing
up in rural Ireland where Mike Todd Jnr. moved the family to in the 1960’s.
|
|
Thomas
Hauerslev with DP70 prototype Todd-AO projection lens.
Back in Copenhagen it was great catching up with Thomas and Charlotte at
home and also having dinner with
Paul Rayton from the famous Egyptian
Theatre in Hollywood, who had also attended the event in Aalborg. It is a
small world when it comes to 70mm ! Before dinner Thomas was kind enough to
show me some of his amazing collection of Todd-AO memorabilia, including the
original Todd-AO projection lens that was used to show the 65mm test footage
for Rogers and Hammerstein and some of the corrected print, curved frame
line test footage of "Oklahoma!". It was wonderful to be able to look at this
film history and touch it, rather than looking at a digital hard drive with
ones and zeros inside it, this does not have nearly the same appeal! Having
a couple of more days in Copenhagen I was able to visit the impressive
Imperial Bio projection room where one Philips DP70 is still installed and
intact. The cinema boasts Dolby Atmos sound with some 44 surround speakers
now mounted down either side wall and along the rear wall as well as two
rows of over head surrounds, not to mention two rear sub woofers mounted on
the rear wall.
|
|
DP70
at Imperial Bio, Copenhagen, Denmark.
A couple of days later after some fascinating site seeing in Denmark with
Thomas, I arrived in Malmo Sweden where I met up with 70mm enthusiast
Sebastian Rosacker, who was able to get us into the famous Royal Cinema, a
large cinema with a 20 metre wide Todd-AO screen now running digital but
still equipped with two Philips DP70 projectors that last year screened
“Those Magnificent Men In Their Flying Machines“ in 70mm which Sebastian had
organised. The large Isco 70mm lenses were still in the lens barrels ready
for their next 70mm screening.
The next morning I was flying off to Iceland for an overnight stop in
Reykjavik before arriving in New York for four nights. While in New York I
attended a screen writers awards night at Columbia University with a good
friend from Brisbane who is doing a masters in film and television there. Of
particular interest was an introduction by Jennifer Lee the award winning
writer and director of this year’s huge Disney hit "Frozen". Jennifer, a
former Columbia University graduate, gave an inspiring speech to the
students where she described cinema as “visual story telling“ this
description captures the essence of film making with the sound being the
enhancement, but the picture being the fundamental element.
|
|
Baker
Cinerama projector, Cinerama Dome, Hollywood, USA.
On May 8th I arrived in Hollywood for the final stop over on my world 70mm
cinema tour before heading home to Brisbane. The next day I had a guided
tour of the Arclight cinema complex and Cinerama Dome main auditorium. In
the Arclight bio various pieces of Cinerama cameras and associated equipment
lay on the floor in one corner of the projection room. This bio had an early
model Philips DP70, serial no. 1121, with two drive motors for the 30 & 24
frame rates. The projector had last shown 70mm film last year with the
release there of “The Master“ and was still operational with a Christie 35
/ 70 platter placed behind it. The main Cinerama Dome bio has an interesting
array of equipment. In the centre bio is the Century Baker Cinerama
projector, the Cinerama sound dubber, as well as a 35 / 70 Kinoton FP75 E
projector and dual Christie digital projectors stacked vertically. The sound
system has a Dolby CP200 as well as a Dolby CP 650, to accommodate all audio
formats required. At either ends of this bio are the Able and Charlie
Cinerama projectors and some Cinerama film storage racks. The whole Arclight
complex is very impressive with large wall to wall screens in all
auditoriums and film capabilities in four of the six cinemas which are still
regularly used for both 35mm and 70mm presentations.
|
|
DP70
at Egyptian Theatre, Hollywood Boulevard, Calif., USA.
The following day I was then able to visit the bio of the world famous “Chinese Cinema“ which now has no film capability since it’s conversion to
an Imax cinema. The bio has two levels where the upper bio has a pair of
Christie digital projectors and the bio beneath has a pair of Imax digital
projectors. With the upcoming Imax film release of Christopher Nolan’s “Intersteller“, the two Imax digital projectors are to be removed to make
room for an Imax film projector and associated platter. The former
projection room housing the Philip’s DP70’s no longer exists. The Chinese is
the third largest Imax screen in North America and the only Imax cinema in
the world to have a full stage curtain which looks quite amazing due to it’s
sheer size. The curtain opening to the sound of “Thus Spake Zarathustra“
timed to end as it is completely open is a very dramatic start to the
performance.
|
|
Egyptian
Theatre sound rack.
Later that day I caught up with Paul Rayton at “The Egyptian“ Sid Graumann’s other surviving Hollywood picture palace with it’s extremely
versatile projection room. Equipped still with a pair of Philip’s DP70’s as
well as a Kinoton FP38 for 16 / 35 capability, coupled to a Dolby CP200 and
DTS AP20 sound processors with Dolby Digital, Datasat and Sony SDDS digital
sound processors. The bio also has an NEC 4K digital projector. It was
pleasing to see that 70mm screenings of “Lawrence Of Arabia“ and “Vertigo“ were scheduled later in the month as well as
“West Side Story“ in 70mm
to screen at it’s sister cinema the “Aero“ in Santa Monica. To finish off
the day a short walk up Hollywood Boulevard led me to “The El Capitan“,
Disney’s magnificent flagship cinema which also had previously installed
DP70’s for 35 / 70mm capability. Today the cinema is Digital projection only
with Christie projectors and Dolby Atmos sound capability. The cinema, like
the Odeon Leicester Square in London, also has separate white and silver
screens with the appropriate screen in place for 2D or 3D presentations.
|
|
FP75E
70mm projector at the Cinerama Dome, Hollywood, Calif., USA
Later that night I flew out from Los Angeles, homeward bound after five
weeks of touring the cream of the world’s cinemas, experiencing 70mm
screenings and visiting a host of projection rooms that are still thankfully
70mm equipped. With world cinema exhibition now dominated by electronic
simulations that have replaced photo chemical theatrical release prints, it
was refreshing to the eyes to have experienced so many high definition film
presentations with their unique colour and contrast giving the image a look
that only celluloid can deliver. When reflecting on all the 70mm
presentations I watched on my trip it was interesting that all of them had
been projected by the Philips DP70 projector, the original, most esteemed
and enduring of all Todd AO projectors. I some how doubt that any of today’s
digital projectors will still be in active service 60 years from now !
|
|
|
|
Go: back - top - back issues - news index Updated
28-07-24 |
|
|