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An Homage To D. W. Griffith
The Forgotten Ultra Panavision 70 Short |
Read more at in70mm.com The 70mm Newsletter
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Written by: Dan
Sherlock, Hollywood, USA |
Date:
22.02.2015 |
At
the beginning of 2014, a trivia question was posted at in70mm.com that was
believed to be quite a challenge:
For what film was the last time Ultra Panavision 70 was used for
photography? Hint: It was not a feature film.
Ultra Panavision 70
was the large format developed in the mid-1950’s that was designed to adopt
many of the technical characteristics of
Todd-AO, but with a wider image that
was intended to compete with and somewhat complement the 3-panel Cinerama
process. By using a 1.25x anamorphic squeeze during photography, it achieved
the ultra-wide aspect ratio aspect of Cinerama,
the large format clarity of Todd-AO, the reduction of “anamorphic mumps”
present in some CinemaScope
photography, and the ability to produce 35mm reduction prints that were
sharper than with 35mm photography due to the reduction in size of the grain
in the negative.
The process was originally called MGM CAMERA 65 when it was used for the
first two films using the process – RAINTREE COUNTY and BEN-HUR:
TALE OF THE CHRIST. The subsequent films that used the process were in
many cases destined for projection in curved-screen Cinerama theaters using
“rectified” prints where the image was compressed at the sides to reduce the
distortion due to oblique projection onto the sides of the deeply-curved
screen. For non-Cinerama projection, 70mm prints could be shown with an
aspect ratio as wide as 2.76:1, although many theaters cropped the sides to
a narrower shape such as 2.55:1. Since the aspect ratio of 35mm ‘scope
prints had by this time abandoned the original 2.55:1 shape in favor of the
2.35:1 aspect ratio, the format was deemed “too wide” by many and the Ultra
Panavision 70 format wasn’t used as often as the non-anamorphic
Super
Panavision 70 format. Thus the last Ultra Panavision 70 film that was
released was reportedly KHARTOUM in 1966. |
More in 70mm reading:
"Panorama Blue" in 70mm
Ultra Panavision
70 - almost like a real story
MGM Camera
65 / Ultra Panavison 70
Ultra Panavision
70, Early lenses
The Hateful Eight - in 65mm??
Internet link:
"An
Homage To D W Griffith" #17
Google
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Conrad
Buff (Editor), Richard Edlund (Director), and Terry Windell (Art Director)
in front of the storyboard for the film
As it turns out, there was one more Ultra Panavision 70 short subject that
was made over 20 years later. In 1988, the equipment and lenses were used
for a special short subject that was also the only time the format used a
speed of 30 frames per second rather than the normal 24 frames per second
format. It was shown the following year only in Japan for a total of 7
screenings in 3 cities. The screenings were part of a special event
presented by Toshiba to celebrate the 30th anniversary of Fuji TV, and
accompanied a screening of the restored tinted and toned version of D.W.
Griffith’s INTOLERANCE that was produced by the Rohauer Collection in
1981. The feature film was projected in 35mm at 20 frames per second onto a
screen that was 13 x 10 m (43 x 33 feet) in size and accompanied by live
symphony orchestra conducted by Naoto Ohtomo, along with a live choir
accompaniment.
Part 1 of INTOLERANCE (about 1 ½ hours) was shown, then followed by
an intermission, and then followed by Part 2 (about 1 hour). Afterwards,
there was an overture consisting of a song by Mozart, and then the short
subject began as the screen opened up to about double the prior width (25 x
10m, or 82 x 33 feet) and was filled with 70mm imagery projected at 30
frames per second. The 15 minute short was titled AN HOMAGE TO D.W.
GRIFFITH, and was narrated by Lillian Gish and produced by Richard
Edlund. He was once asked why the Ultra Panavision 70 format was used rather
than the more traditional spherical 70mm format, and he replied that he
wanted to maximize the dramatic transition from the old tinted and toned
35mm slow frame rate to the full-color wide screen 70mm format of modern
times. The orchestra and chorus, performing a collection of old traditional
American songs, continued to accompany the short along with the recorded
sound. The short was a combination of older images and footage combined with
newly shot Ultra Panavision 70 footage.
After the screenings, the existence of the short subject fell into
obscurity. Ironically, the negative of it was sold on Ebay in 2013 to an
unknown collector. Recent comments about it by Richard Edlund and the recent
discovery, and the purchase by this author of the program book that
accompanied the presentations, have produced the details given in this
article.
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ANSWERS TO THE TRIVIA QUESTION
Submitted by readers of in70mm.com
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Frame
blow up, newly shot with 65mm Ultra Panavision 70 optics and camera
06.01.2014
The short film is "An Homage To D W Griffiths". Love the
site.
All the best. Richard Pyke, Cambridgeshire, UK
..a fast answer to which he replied: Pure coincidence I'm afraid. I
have recently been reading about film researcher Anthony Slide and knew he
had made a 70mm short film about D W Griffiths. To find the title I had to
google because I had a "senior moment" and couldn't think of the title. I
hope that's not classed as cheating. :-) Unfortunately I'm not well enough
travelled to have seen it. I absolutely love your web site, and all things
Widescreen.
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07.01.2014
Perhaps the ten-minute epilouge (Japanese 70mm short subject) to the movie
"Intolerance" (1916) "An Homage to D.W.Griffith"?
Cheers Gerhard Witte, Berlin, Germany
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19.03.2014
It is mid-March. Please post the answer to your question about the screening
with Lillian Gish. I have no idea what the answer is, but very curious. Love
your site by the way....
Jim Cobb, USA |
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20.02.2014
Your quiz has been an interesting challenge, but with no definitive answer
for me. I've spent far too much time on the internet trying to track this
down. However circumstantial clues lead me to a guess: 1989 was the first
edition of the Yamagata International Documentary Film Festival and six of
Robert Flaherty's films were shown. Their grand prize is named for Mr and
Mrs Flaherty. Lillian Gish was a friend of theirs and appeared in a
documentary about Robert with Mrs Flaherty. She apparently appeared in 1953
at the Museum of Modern Art in New York at a program to honor their work. I
had better luck with discovering the location where the
"Renault Dauphine"
Cinerama advert was filmed.
Henry Taylor, USA
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AN HOMAGE TO D.W. GRIFFITH
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Storyboard
of the film. The image is actually a photo of the storyboard, so there is
some focus and brightness differences that are present in the original image
and thus also in this copy.
Click the image to see a large version
PERFORMANCES (Times for each day are for the beginning of the
screening of INTOLERANCE)
Tokyo, Nippon Budokan
1989, February 27, 28, March 1
6:30 PM (18:30) each day
Osaka, Osaka Castle Hall
1989, March 13, 14
6:30 PM (18:30) each day
Nagoya, Nagoya Rainbow Hall
1989, April 1, 6:30 PM (18:30)
1989, April 2, 2:00 PM (14:00)
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CREDITS
Narrator: Lillian Gish
Director: Richard Edlund
Art Director: Terry Windell
Editor: Conrad Buff
Optical Supervisor: Chris Regan
Line Producer: Christine Sellin
Music: Performed by New Japan Philharmonic
Conducted by: Naoto Ohtomo
Chorus: Special Choir for Intolerance
MUSIC FOR AN HOMAGE TO D.W. GRIFFITH
Fanfare for the Common Man [Aaron Copland, composer]
My Old Kentucky Home [Stephen Foster, composer]
“Chase” Music
Dixie [Daniel D’Ecatur Emmett, composer]
Carmina Burana – Fortuna Imperatrix Mundi [Carl Orff, composer]
I Dream of Jeanie With the Light Brown Hair [Stephen Foster, composer]
When Johnny Comes Marching Home [Composition accredited to Lewis Lambert]
Simple Gifts (Shaker Song) [Adapted by Aaron Copland]
My Old Kentucky Home [Stephen Foster, composer]
PROJECTION OF INTOLERANCE
Screen size: 13 m x 10 m (43 x 33 feet)
Projector: 35mm
Speed: 20 frames per second
Running time: 2 ½ hours
Color: Tinted and toned black and white
PROJECTION OF AN HOMAGE TO D.W. GRIFFITH
Screen size: 25 m x 10 m (82 x 33 feet)
Projector: 70mm Ultra Panavision 70
Speed: 30 frames per second
Running time: 15 minutes
Color: Tinted and toned black and white along with new color footage
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