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TODD-AO 70mm process


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#1 Roman Latkovic

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Posted 29 January 2007 - 05:36 PM

I am working on a project proposal for a feature lenght movie - a hybrid of a documentary and fiction - that I feel needs to be shoot in such a way to present the Nature in almost unatural way (pun intended) in all its glory and beauty.

Does this make any sense? We would have to shoot (like "Baraka") in various countries, sometimes on a remote locations and I wonder what kind of problems you as a cinematographers anticipate?
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#2 chuck colburn

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Posted 29 January 2007 - 05:45 PM

I am working on a project proposal for a feature lenght movie - a hybrid of a documentary and fiction - that I feel needs to be shoot in such a way to present the Nature in almost unatural way (pun intended) in all its glory and beauty.

Does this make any sense? We would have to shoot (like "Baraka") in various countries, sometimes on a remote locations and I wonder what kind of problems you as a cinematographers anticipate?


You want to shoot in 65mm?

I can tell you where to rent the cameras. Bring money, lots and lots of it!
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#3 David Mullen ASC

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Posted 30 January 2007 - 12:40 AM

How are you planning on posting the movie? What format will you release it in?
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#4 Max Jacoby

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Posted 30 January 2007 - 05:07 AM

I can tell you where to rent the cameras. Bring money, lots and lots of it!

That's just not true. Arri told me that they plan to offer 65mm equipment, stock, processing and scanning for the price of 35mm.
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#5 Roman Latkovic

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Posted 30 January 2007 - 08:35 AM

How are you planning on posting the movie? What format will you release it in?


Sans DI - ideally it would go to the IMAX and wider theatrical release in 2:35 :1 ratio.
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#6 David Mullen ASC

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Posted 30 January 2007 - 08:40 AM

Sans DI - ideally it would go to the IMAX and wider theatrical release in 2:35 :1 ratio.


So you're going to make 15-perf 70mm, 5-perf 70mm, and 35mm anamorphic prints without a D.I., using an optical printer?
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#7 Arni Heimir

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Posted 30 January 2007 - 09:08 AM

That's just not true. Arri told me that they plan to offer 65mm equipment, stock, processing and scanning for the price of 35mm.


I wish Arri would develop a new line of 65mm lenses. One can only dream.
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#8 Roman Latkovic

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Posted 30 January 2007 - 09:38 AM

So you're going to make 15-perf 70mm, 5-perf 70mm, and 35mm anamorphic prints without a D.I., using an optical printer?


Obviously I never done something even remotely similar to this but yes, based on what I read so far this would be it. I thought the picture would be printed on 70mm film and was squeezed onto 35mm in 2.35:1 format.
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#9 Max Jacoby

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Posted 30 January 2007 - 10:55 AM

That is true for regular theatrical distribution, but the IMAX format (15 perf 65mm) is a completely different format (and aspect ratio) than the 65mm 5 perf and 35mm 4 perf formats that get shown in a regular theatre. Normal films are not usually shown in IMAX theatres, and those few blockbusters that are are themselves not shot in IMAX format, but in 35mm. I don't know what ratio they are shown in in an IMAX theatre (but I'm sure David does), but I doubt they are converted to the almost square aspect ratio of IMAX.
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#10 John Holland

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Posted 30 January 2007 - 11:23 AM

hi Max i think off top of my head its something like 1,80 . John holland.
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#11 David Mullen ASC

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Posted 31 January 2007 - 02:05 AM

IMAX is 1.33 but many widescreen movies lately have been blown-up to IMAX with black borders to preserve their aspect ratio.

After you cut the 5-perf 65mm negative and answer printed it in 70mm, you'd strike a color-timed, contact-printed 5-perf 65mm color interpositive, which you would then use in an optical printer to create dupe negatives in other formats like 35mm anamorphic. Trouble is that it's harder and harder to find optical printer houses that work with 65mm. Most blow-ups to IMAX are now done using the DMR process, basically a D.I.

Since the demise of 5-perf 70mm projection at most first-run theaters, 70mm prints of movies like "Baraka" or "Lawrence of Arabia" end up only being screened at special art house cinemas like the American Cinematheque, or at the few theaters left with 70mm projection equipment, like the Cinerama Dome.

I'd almost suggest budgeting for a 4K or 6K D.I. and shooting in 8-perf 35mm (VistaVision) instead of 5-perf 65mm, as long as you are shooting MOS footage, not dialogue scenes. The advantage is mainly the availability of 35mm stock and processing worldwide. Often with 65mm stock, you have to place an advance order. Then you could record the D.I. out to various release print formats like 35mm anamorphic or IMAX.
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#12 Roman Latkovic

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Posted 31 January 2007 - 08:31 AM

Since the demise of 5-perf 70mm projection at most first-run theaters, 70mm prints of movies like "Baraka" or "Lawrence of Arabia" end up only being screened at special art house cinemas like the American Cinematheque, or at the few theaters left with 70mm projection equipment, like the Cinerama Dome.

I'd almost suggest budgeting for a 4K or 6K D.I. and shooting in 8-perf 35mm (VistaVision) instead of 5-perf 65mm, as long as you are shooting MOS footage, not dialogue scenes. The advantage is mainly the availability of 35mm stock and processing worldwide. Often with 65mm stock, you have to place an advance order.


Sorry to admit but I was totally taken with incredible photos from several books on art and nature (from artists I?d like to feature in the picture) they gave me and wanted to have that ?almost unatural beauty? seen on the big screen.

Reading your answers gents, and thinking more I realized that I just cannot frame for both formats and be satisfied so my brief journey to the 65mm dreamland is over. Nothing wrong with 35mm anyways? :)

Thank you all.
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Technodolly

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Glidecam

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The Slider

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Metropolis Post

Wooden Camera

Media Blackout - Custom Cables and AKS

FJS International, LLC

CineLab