“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

 

"As Good As It Gets" Introductory Notes
Presented at the
3rd Todd-AO Festival at the Schauburg. 5 - 7 October 2007

Read more at
in70mm.com
The 70mm Newsletter
Compiled by: Paul Rayton Date: 05.07.2007
In 2006, Kodak and Arriflex, plus the L.A. lab known as "FotoKem" cooperated to produce a new demonstration film, to illustrate the significant benefits of shooting on 65mm film.

Of course, we all know about shooting a larger negative, and how it delivers a better image, but a lot of people -- even those working in the industry! -- do not understand this. And, with the increasing use of "D.I.s" ("Digital Intermediates") in post-production work, it was important to be able to illustrate to the people out there that even using these D.I. processes, that they could significantly enhance their exteriors, esp. long shots and grand vistas, by using 65mm for the original photography -- and still have those image(s) be compatible with the close-ups and dialogue photography that might have been photographed on 35mm film or, possibly, even some kind of HD capture device.

So, Director of Photography Bill Bennett, a member of the American Society of Cinematographers was selected to be the "DP" for the project. Mr. Bennett's most-often assignment, in his daily work life, is as a DP for automotive commercials, so you know that there would have to be some scenes of cars. But that wasn't to be it exclusively.

In order to show the versatility of the photography, and the process, it was decided to have several exterior scenes, with some models, plus varied conditions and locations.

The mountains of central California would be the location, and so photography was done near Lone Pine, in the Sierra mountains of central California. Various types of camera emulsions would be used, in varying light conditions. (All the specifics of those details can be found listed on the in70mm.com website.)

Some of the exteriors were in full sunlight, but, as fate would have it, on one of the days of shooting there was a thin layer of high cloudiness, leading to a somewhat "flatter" light than would have been the most dramatic, ideal, for demonstration purposes. However, this was not a Hollywood production with an unlimited budget, and they couldn't wait days for the light to change, so they worked with the light they had at that time.
 
More in 70mm reading:

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

"As Good As It Gets" Introductory Notes

...about the showings

“As Good as it Gets” - cast/credit

ARRI 765 Film List

Panavision and the Resurrecting of Dinosaur Technology

Internet link:
 
After the mountains and forests and lakes, of course there had to be a few scenes of "city" views, and that's were the automotive scenes enter into the picture. There are several scenes of cars, traveling the highways around central Los Angeles, as well as some evening "magic hour" views of the new Frank Gehry-designed "Walt Disney Concert Hall", to show off the incredible sharpness of the camera process.

At the first public demonstration viewings of this film, in November 2006, held at UCLA in Los Angeles, there were various versions of the movie shown, including a 35mm print from a D.I., a 4K d-cinema version using the Sony 4K projector, and of course, the 70mm print. After the evening presentations were completed, there was still a bit of time, and the audience (a bunch of Hollywood professionals, from various specialties in the post-production field) was asked, "what would you like to see repeated?" -- the answer was, the 70mm print. Clearly the audience favorite, and many of the younger people present had never seen actual 70mm film, actually projected "in the splendor of 70mm". The result spoke for itself.

The film does not have a completely synchronized soundtrack. Rather, there is some specially-composed music to be played via a companion CD, with approximate synchronization. That's why you will now see the countdown leader projected, to help get the timing right ...
 
 
 
Go: back - top - back issues - news index
Updated 28-07-24