“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

 

The Hateful Eight - in 65mm??

Read more at
in70mm.com
The 70mm Newsletter
Written and collected by: Thomas Hauerslev Date: 31.07.2014.
Updated 28-07-24
2015.07.12

DEADLINE: You said you were shooting the biggest widescreen movie in 40 years and you were going to remind people why this is real moviemaking. Coming out the other side, what are some things that make you feel you were right to stand your ground, dig your heels in and do it this way?

TARANTINO: The proof will be in the pudding, in the look and the feel of the film, but it was just gratifying shooting and then watching our dailies in 70mm, at the end of every day. You just looked at it and said, there it is, baby, it’s right there. Even as far as editing, I am trying not to get comfortable watching on the Avid. Every time we finished a scene, they conformed the film and we’d go to the Directors Guild and screen what we’d just done. So I am used to seeing it big, the way it is going to be seen. But the proof is also how excited everybody seems to be about the idea of this roadshow, the 70mm presentation. Even the foreign distributors, who are figuring out how they can best show the movie. Part of the thought process at the very beginning was, if I shoot on the 65mm, then I’m making them release it on 70mm. They weren’t spending all that money to just have a [token effort]. So that was forcing their hand. Well, little did I realize that, while 35mm presentation might be a lost cause, 70mm isn’t. That could be the future, as far as how a big special movie is showcased.

I hadn’t realized what a lost cause 35mm has proven to be, and how excited about 70mm that people in the industry were going to get. We used those Ultra Panavision 70 lenses, and now, Star Wars is doing the next movie with those lenses. And that means they are going to release it big in 70mm for some big thing. I never thought I would be in a world where my movie is leading Star Wars, when it comes to technical equipment. All the studios, because Harvey has all these projectors now, they are saying, maybe we’d like to that on some of our movies. We are hearing that the entire industry is saying, let’s just see how this roadshow does, let’s just see. It might not work, but it could be a real thing. It’s going to be about 100 stops on the roadshow. They promised me 80 to 100 screens, and I think we’ve just gotten up to 100 as of last week. That more or less breaks down to the idea that every state in America has at least two venues.

More from Deadline.com:
Hateful 8 panel Discission
Ennio Morricone will score The Hateful 8
Quentin Tarantino q/a on The Hateful 8
 
More in 70mm reading:

The Hateful Eight

Panavision and the Resurrecting of Dinosaur Technology

An Homage To D. W. Griffith

"Sunset Song" Filming in 65mm

"Violet" Partly Photographed in 8-perf 65mm

"Interstellar" Goes IMAX 70MM

The 70mm Rumour Mill

P T Anderson's "The Master" in System 65

Ultra Panavision 70 - almost like a real story

"As Good as it Gets"- Demonstrates power of large format

Internet link:

The Hateful 8

"The Hateful Eight" trailer

Wall Street Journal

deadline.com

hollywoodreporter.com

slashfilm.com

blogs.indiewire.com

cinematography.com


 
A picture of the The H8 "Roadshow" billboard truck promoting the movie in San Diego that I happened to see after the convention was over. Image by Dino

They showed a video introduction at the beginning of the panel with Samuel L. Jackson talking about the 70mm format that the movie is in and also a 7 minute scene or series of scenes from the movie but I have not seen either of them. I read somewhere that there will be 100, not 50, theatres that will be equipped to project the movie in Ultra Panavision 70. That may have been announced in the introductory clip.

Dino
 
deadline.com

variety.com

deadline.com

Hateful 8 panel Discission

Ennio Morricone will score The Hateful 8

Quentin Tarantino q/a on The Hateful 8

How Ultra Panavision 70 was resurrected
The Weinstein Company haven't got the logos quite right on this teaser poster from the fall of 2014. It's a 70mm blow-up logo created by Paramount 30+years ago, stacked on top of a vintage 1953 CinemaScope logo by 20th Century Fox with a "Super" added in the middle.

...to be continued....


12.06.2015

"The Hateful Eight" is getting an exclusive two-week roadshow in 70 US cinemas beginning Christmas Day, 2015.

Panavision used old notes to rebuild the Ultra Panavision lenses.

"The Hateful Eight" will be presented with anamorphic projector lenses at a 2.79:1 aspect ratio, and the film will have an overture and an intermission.


04.02.2015

New anamorphic x1,25 projection lenses to be produced.

More than 100 70mm prints to be made - largest 70mm release since "Far and Away".


27.01.2015

Panavision rebuilt the 65mm cameras being used on "The Hateful Eight". Panavison had to use old notes to rebuild the cameras and Ultra Panavision lenses, some of which were made in the 1950's because the original engineers weren't around anymore. The film will be presented with anamorphic projector lenses at a 2.75:1 aspect ratio, and the film will have an overture and an intermission.

Don W.


30.09.2014

As for 200 locations for Hateful Eight, unknown if that will be a reality. Most of us techs think it will be feasible to have at least 50 locations across the US and Canada ready to run 5/70 DTS. An employee with DataSat Digital (formally DTS) tells us that the prints are confirmed and they are trying to cobble up and refurb enough processors and 70mm readers to meet the demand (for Interstellar and Hateful Eight)

Sean on Facebook
 
 
03.09.2014

Though Weinstein's involvement may seem fairly ordinary, the release of The Hateful Eight will be historic in that it will be shot on 65mm film and will have the widest 70mm release in over twenty years. In a unique distribution plan, the movie will also have 35mm releases and DCP formats.

From contactmusic.com + collider.com + darkhorizons.com



30.07.2014

Hi Thomas,

You may be interested in the attached teaser poster for Quentin Tarantinos "The Hateful Eight". As you may be able to make out it mentions a 70mm roadshow engagement. It is taken from the new issue of Empire magazine

Regards
Paul Shackleton


30.07.2014

In case you have heard, it looks like this may finally happening in 70mm!

Tarantino and “Super Cinemascope” aka 70mm

As always, love the in70mm.com website!

Morgan Montague
 
 

Ultra Panavision 70

 
From deadline.com

“We’re doing this 70 mm, and we are trying to create an event,” he said. “I need to know from all of you if this can last a month in your territory in that format, or two weeks. Then we roll it out in 35 and eventually digital.

[DP cinematographer Bob Richardson] went to Panavision to check out lenses for this big Sherman Tank of a camera he’ll use. He goes into the warehouse room and sees all these big crazy lenses. He asks, what are those? It was the
Ultra Panavision lenses that haven’t been used since How The West Was Won, Mutiny On The Bounty, Battle Of The Bulge and It’s A Mad Mad Mad Mad World, which were all bigger than the normal 70 mm. If the normal scope is 235, this is 278, the widest frame possible on film. The projectors need a decoder [an anamorphic lens, ed], an adapter, to blow it out that way. That’s why Mad Mad World, Battle Of The Bulge and Ice Station Zebra [Super Panavision 70, ed] look the way they do. The last movie to use these lenses was Khartoum with Charlton Heston and Laurence Olivier. We’re using those lenses for this movie. We’ve been testing them the last month and everything is A-ok. They look amazing. We are literally coming out with the biggest wide screen movie shot in the last 40 years.”
 
Ultra Panavision 70 - almost like a real story

 

Wanted: 70mm Projectors

 
28.02.2015

This ad is just recently posted on Film-Tech. Larry Shaw is one of the owners of Boston Light & Sound. Clearly, they are still scraping around to try to round up sufficient projectors for Tarantino's 70mm film.....
 
 

From Panavision's Facebook page

 
On the set of Quentin Tarantino's "The Hateful Eight", the Panavision System 65 camera, Robert Richardson and crew. The last week of shooting in Telluride in Ultra Panavision 70 (ultimo March 2015). First AC Gregor Tavenner, Cinematographer Robert Richardson ASC and Panavision's Bob Harvey & Jim Roudebush.

1,25x Ultra Panavision squeeze added for authenticity.
 
 

Go behind the Scenes on The Hateful Eight at Cine Gear Expo
See Test Footage Shot and Projected in Ultra Panavision 70
By: Lisa Muldowney, ignite strategic communications

 
Bill Bennet, ACS's screen shot of the Ultra Panavision 70 test reel

WOODLAND HILLS, Calif. (June 3, 2015) – Panavision will showcase test footage from Quentin Tarantino’s The Hateful Eight, shot by Robert Richardson, ASC in Ultra Panavision 70 at Cine Gear Expo on Saturday, June 6, at 11:30 a.m. The footage will be projected in 70 mm anamorphic film at the Paramount Theater.

Giving attendees a look behind the scenes of this highly anticipated Western will be Dan Sasaki, Panavision’s VP of Optical Engineering, who will explain the adaptations and innovations required to shoot in Ultra Panavision 70 in 2015. Journalist David Heuring will moderate the discussion.
 
In Ultra Panavision 70: An Homage To D. W. Griffith

"As Good as it Gets"- Demonstrates power of large format



 
"The Hateful Eight is the first production since 1966 ("Khartoum") to shoot in Ultra Panavision 70. The anamorphic format is captured on 65mm negative and delivers a stunning and subtly beautiful 2.7:1 (roughly) image that is sharp but not clinical, with painterly bokeh and immersive depth.

Panavision collaborated with "The Hateful Eight" creative team to make sure the lenses and cameras would accommodate their rigorous shooting schedule in Telluride, Colorado. The original tests being shown at Cine Gear are what helped to solidify the decision to produce the entire movie in a large screen format.

Attendees are also invited to stop by the Panavision/Light Iron booth located in Stage 32 (#S311).




Go to
The Hateful Eight

 
 
Go: back - top - back issues - news index
Updated 28-07-24