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.
The
70mm Promotion Tour, 1994 outside the Todd-AO Studios in 1021 North Seward
Street, Los Angeles. Left: Johan Wolthuis, Dan Leimeter, Richard Vetter,
Darryl Grey and Thomas Hauerslev
I first met Dick in 1965 at the newly built LeFrak City UA Theater in Queens
New York. I had just graduated from high school. I got preview tickets for
the introduction of
Dimension-150
the first all purpose-multi format movie theater in the world. Not knowing
what this was all about a friend of mine and I went to the press event the
day before the theater was to have its grand opening. The theater was not
fully completed and one of the items still to be installed was the
projection port glass. Sitting in the auditorium as the demonstration was
about to change from conventional 70mm to D-150 and as the masking opened to
the format I heard the projector running at a faster speed than the prior
formats and wondered why? Following the presentation we were invited into
the projection room and the men in there were happy that the press
presentation went off without hitch, they had big smiles on their faces. The
men introduced themselves to us and they were
Carl Williams,
Joe Kelly
and Dick Vetter along with two operators. I asked at one point why the
D-150 footage
required the projector to run faster, I assumed it was 30fps as "Oklahoma" and "Around The
World In 80 Days" had been presented years earlier. Dick turned to
me and asked how I knew it was at a faster projection speed and I responded
I could hear the projectors from the rear of the auditorium due to the lack
of the port glass. Dick made a note of it! Dick then excused himself and we
did not meet again until the 80's.
As I found out years later from Joe Kelly the most difficult part of the
Lefrak install was the screen. When the screen arrived from Harkness they
tried to get it through the side entrance and the angle of entry was not
wide enough. Joe had to have the building contractor come back quickly,
remove the door as well as several feet of brick wall to allow the screen to
get in.
Fast forward two decades later, I rented an AP-65 hand held 5 perf Todd-AO
camera for some test footage I was going to have shot. The camera was fitted
with a 1.5 vertical squeeze anamorphic lenses for my FuturVision - 360
process that was the equivalent of a Mini-Imax 1.43:1 format. I was going to
market it for the conventional cinema versus purpose built theaters for the
Imax 15 perf format. Once again, by chance I met Dick, this time at his
Todd-AO offices on Sunset Blvd. in LA. He was very helpful in me on how to
best retrofit the lens to the camera etc, but I never mentioned to him at
that time that we had met in the 60's at Lefrak and would leave that
conversation for two more decades later.
Paul
Rayton and Richard Vetter in his home in Carlsbad, California, in February
2006
Around 2005 I again met Dick in Hollywood where I was renting a theater to
showcase 70mm, 48 frame photography and projection. It was marketed as
SDS-70 and Dick came to a
screening to see what it was all about. When the presentation was completed
I met Dick in the lobby and he was all enthused about what I had done and
offered his support in whatever way he could. Dick by this time was no
longer working for UA Theaters and Todd-AO but was working on several new
cinema innovations on his own. We met several times for lunch going over the
trial and tribulations of introducing new technology to Hollywood. We spent
dozens of hours on the phone exchanging information on cinema technology,
especially the cinema digital revolution.
Dick opened up a lot to me and
told me of one of his most disappointing events that happened to him while
he was trying to close a big feature planned to be shot in
Todd-AO. He told me he had lunch
with Jack Warner president of Warner Bother's Studio to finalize a contract
for Todd-AO to supply cameras and camera services for the big musical "My
Fair Lady." When he left the meeting he was assured that it was a "go" and that
paperwork should follow. Days later Dick got a call from Warners and they
informed him that
Panavision
was going to be the supplier of 70mm cameras instead, Dick was astounded and
greatly disappointed, he thought he had a deal with Jack Warner and there
was nothing he could do about it.
With all the trials and tribulations that Dick went through over the years
in Hollywood he always believed firmly in the 70mm format and the value it
brought to feature films, yesterday, today and tomorrow. He was extremely
knowledgeable and was willing to share it all, but most importantly a true
gentleman. We will all miss him!
About Richard Vetter
Richard
Vetter and Thomas Hauerslev in 1994, during one of Richard's cruises. One of
which took him to Copenhagen, Denmark.
February 24, 1928 - August 11, 2015 CARLSBAD - Richard H. Vetter (Dick) was
born in San Diego in 1928 and educated in the local schools. After
graduation from Hoover High School he enlisted in the Navy and was assigned
to an intensive School of Photography in Pensacola, Florida, which furthered
his motivation and fascination of the subject of photography. As a child he
was already captivated with photography and especially motion picture magic.
Following his brief service in the Navy he continued with his formal
education at Pepperdine University receiving a Masters in Education and
taught high school for a short while when he decided to pursue his PH.D. at
UCLA in Audio Visual Studies and Theater Arts. Subsequently he was appointed
Associate Professor at UCLA and taught there for several years where he
invented a motion picture simulator having received a special grant from the
Institute of Transportation and Traffic Engineering.
This widescreen development caught the attention of Louis de Rochemont, a
well-known documentary and dramatic producer, who introduced him to the
executives of United Artists Theatres. Dr. Vetter eventually became Vice
President of Research and Development for UA Theatres. Development of the
driving simulator system into a theatrical technology for producing and
releasing Hollywood's feature films resulted in the formation of a new
subsidiary of United Artists named Dimension 150. This combination of using
Todd-AO 65 mm cameras and D-150 optics was designed to compete with
Cinerama, Panavision other widescreen formats that became premium venues
during the 50's and 60's.
Richard
Vetter in his home in Carlsbad, California, in February 2006. Image by Paul
Rayton
By the mid 60's the production and exhibition hardware and software was an
unprecedented success. Dick's patented technology was installed in over
sixty D-150 systems in the U.S., Mexico, South America, Europe and the Far
East. Following a demonstration of the D-150 system at the UA Egyptian
Theater in Hollywood, Frank McCarthy, producer for 20th Century Fox and
Franklin Schaffner, Director of "Patton", selected D-150.
Photographer Fred Koenekamp received a well-deserved Academy Award
Nomination for best photography along with Dr. Vetter's Dimension 150. Dick
Vetter holds over 40 patents of which many are associated with the
technology of wide-screen motion picture exhibition as well as other patents
that resulted in improvements for the science of the motion picture
industry. Dick Vetter was a proud voting member of the Academy of Motion
Pictures Arts and Sciences and a member of the American Society of
Cinematographers among many other such organizations.
Dick enjoyed travelling with family and friends taking numerous cruises over
the years along with his faithful participation in our many family
celebrations. He was a devoted husband, truly dedicated to his wife,
Elizabeth Storrow, who pre-deceased him in 1970. Both his brothers, George
and Norman Vetter, also, predeceased him. He is survived by his two
children, Catherine Vetter-Johnson and Rodney Vetter, his sister Gail
Marshall (Phillip), sister-in-law L'roida Vetter along with his
grandchildren, great-grandchildren, nieces, nephews and cousins. Dick was
loyal, caring, humorous, fun-loving and generous with all of us who knew him
best as well as being a significant contributor to various philanthropies
and an icon in the motion picture industry. We will cherish the memories of
the many years he so lovingly spent with us. Private memorial services and
interment were held at Forest Lawn Memorial Park in Glendale.
A conversation with Dr Richard Vetter about his early film days, UCLA,
Dimension 150 and Joe Kelly
In Feb. of 2006, Paul Rayton visited Dr.
Richard Vetter at the Vetter home in Carlsbad, California. In a free-ranging
and very casual interview, Mr. Rayton reminisced with Dr. Vetter about his
life history and experiences. Dr. Vetter had many patents issued to him over
his career, but he seemed proudest of the one for the 70mm process which was
called "Dimension
150", or D-150.