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Dr. Richard Vetter about ClearVision 2000
Loosely transcribed notes based on a telephone conversation
in the very early 2000s |
Read more at in70mm.com The 70mm Newsletter
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Edited by: Rayton
& Hauerslev |
Date:
01.01.2020 |
Our
new 65mm project, and some facts about this new technology. We are doing major
changes and updates to our cameras and lenses. Future changes include
adjustments and updates to projection system, and the screen. We are using
the newest stocks, the
very high resolution film offered by Kodak. Their modern film stocks are just
fantastic.
Put all these things together and the pieces fit. We have a whole new 70mm
experience, which is exciting. When we have all of it put together, along
with
my final evaluation of the screen, then we will be happy with it. We will put
together a story I think will be exciting to people like you and me and
others who appreciate the potential of 70mm.
We have the rights to a novel which is a kind of modern day Indiana Jones
type of kind of picture. It has a lot of great locations visually. We are
not yet set on a producer and a director, but we are leaning toward a group
of people, probably based in Pinewood, London.
Good friends over there, Barbara Bach [Broccoli] and the James Bond group.
They won't be involved in production, but they will help us to assemble the right
cast and crew. Everything we need to operate from our London home base.
Financing is no problem. It is a solid, big budget picture, but the people
we would like to work on this picture are so busy!
My leader and financier will promote the superiority of new and updated 70mm
cinematography and projection. 30 frames per second goes without question. A
wide release, and 35mm scope release shown in 30 fps. Image dimension perf to
perf, with outboard time code (outside the perfs) for the sound. Mag sound, as you know,
is gone. The projection aperture is opened up to 2,40:1 aspect ratio. It is
no problem in theatres to set screen masking. We think it is a good practice
to keep 70mm and 35mm at the same aspect ratio. It gives us a nice panoramic
view to the picture and no cropping. No funny grooves in the camera
viewfinder glass any more.
It is set close to perf-to-perf with some protection. Camera operators
looking at aspect ratio and the composition area tell us that the ratio will be good for
70mm and 35mm scope, and even video letterboxing. Total alignment and no compromise in
cropping.
We have handpicked several classic old lenses. Some of them are marvelous and we have
also added a few newly-made lenses. They are setting a new high criteria in terms of
resolution. ISCO are making new printer lenses to make new internegatives
from 70mm. We need new lenses because the current laboratory lenses date
back 25-30 years. We need new optics.
We are not using the COSHARP printer. We see things critically and need to
see 70mm. We have to see what we have. That is the only way. The only way we
can see what we have on the film is to view 70mm dailies from 65mm originals.
We have filed a couple of patents, and counting on using the
ARRI 765 and
the totally rebuilt
AP-65 cameras. Panavision have been very cooperative on a
very friendly basis. There is no competition. We have taken the Todd-AO
Camera department, which has been bought by the former owners of United
Artists Theatres. Todd-AO company is now only sound and post production. My
financial leaders
own more than 80% of the Todd-AO stock.
All our equipment is maintained at Fries Camera and we will rename the systems [to ClearVision 2000] with focus on the [Todd-AO] AP camera.
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More in 70mm reading:
CineSpace
70 / ClearVision 2000 by Todd-AO
PDF: US6242150 patent
ClearVision 2000
Compact Distribution Print by Todd-AO
Todd-AO 65mm
Camera AP-65
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28-07-24 |
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