Contents 1 History 1.1 Fox Grandeur 1.2 Todd-AO 1.3 Panavision and the 65/70mm format 2 Decline 2.1 Blow-ups 2.2 Current use 2.3 Digital 70 mm cameras 2.4 Home media 3 Uses of 70 mm 3.1 Ultra Panavision 3.2 Special effects 3.3 IMAX 3.4 70 mm 3D early use 3.5 IMAX 3D 4 Technical specifications 4.1 Standard 65 mm (5/70) (Todd-AO, Super Panavision) 4.2 Ultra Panavision 70 (MGM Camera 65) 4.3 Showscan 4.4 IMAX (15/70) 4.5 IMAX Dome / OMNIMAX 4.6 Omnivision Cinema 180 4.7 Dynavision (8/70) 4.8 Astrovision (10/90) 5 See also 6 References 7 External links

History[edit] Films formatted with a width of 70 mm have existed since the early days of the motion picture industry. The first 70 mm format film was most likely footage of the Henley Regatta, which was projected in 1896 and 1897, but may have been filmed as early as 1894. It required a specially built projector built by Herman Casler in Canastota, New York and had a ratio similar to full frame, with an aperture of 2.75 inches (70 mm) by 2 inches (51 mm). There were also several film formats of various sizes from 50 to 68 mm which were developed from 1884 onwards, including Cinéorama (not to be confused with the entirely distinct "Cinerama" format), started in 1900 by Raoul Grimoin-Sanson. In 1914 the Italian Filoteo Alberini invented a panoramic film system utilising a 70 mm wide film called Panoramica.[1] Fox Grandeur[edit] Main article: 70 mm Grandeur film In 1928, William Fox of the Fox Film Corporation, in personal partnership with Theodore Case as the Fox-Case Corporation, began working on a wide film format using 70 mm film which they named Grandeur. Cameras were ordered by Fox-Case from Mitchell Camera Corp, with the first 70mm production cameras, designated as the Mitchell Model FC camera, delivered to Fox-Case in May 1929. This was one of a number of wide-film processes developed by some of the major film studios at about that time. However, due to the financial strains of the Great Depression, along with strong resistance from movie theater owners, who were in the process of equipping their theaters for sound, none of these systems became commercially successful. Fox dropped Grandeur in 1930.[2] Todd-AO[edit] Main article: Todd-AO process Producer Mike Todd had been one of the founders of Cinerama, a wide-screen movie process that was launched in 1952. Cinerama employed three 35 mm film projectors running in synchronism to project a wide (2.6:1) image onto a deeply curved screen. Although the results were impressive, the system was expensive, cumbersome and had some serious shortcomings due to the need to match up three separate projected images. Todd left the company to develop a system of his own which, he hoped, would be as impressive as Cinerama, yet be simpler and cheaper and avoid the problems associated with three-strip projection; in his own words, he wanted "Cinerama out of one hole". In collaboration with the American Optical company, Todd developed a system which was to be called "Todd-AO". This uses a single 70 mm wide film and was introduced with the film Oklahoma! in October 1955. The 70 mm film is perforated at the same pitch (0.187 inch, 4.75mm) as standard 35 mm film. With a five-perforation pull-down, the Todd-AO system provides a frame dimension of 1.912 inch (48.56mm) by 0.816 inch (20.73mm) giving an aspect ratio of 2.3:1. The original version of Todd-AO used a frame rate of 30 per second, 25% faster than the 24 frames per second that was (and is) the standard; this was changed after the second film – Around the World in 80 Days - because of the need to produce (24 frame/sec) 35 mm reduction prints from the Todd-AO 65mm negative. The Todd-AO format was originally intended to use a deeply curved Cinerama-type screen but this failed to survive beyond the first few films.[3] However, in the 1960s and 70s, such films as The Sound of Music (which had been filmed in Todd-AO) and Patton (which had been filmed in a copycat process known as Dimension 150) were shown in some Cinerama cinemas, which allowed for deeply curved screens.[4] Todd-AO adopted a similar multi-channel magnetic sound system to the one developed for Cinemascope two years earlier, recorded on "stripes" of magnetic oxide deposited on the film. However Todd-AO has six channels instead of the four of Cinemascope and due to the wider stripes and faster film speed provides superior audio quality. Five of these six channels are fed to five speakers spaced behind the screen, and the sixth is fed to surround speakers around the walls of the auditorium. Panavision and the 65/70mm format[edit] Main articles: Super Panavision 70 and Ultra Panavision 70 Panavision developed their own 65/70mm system that was technically compatible and virtually identical to Todd-AO. Monikered as Super Panavision 70, it used spherical lenses and the same 2.20:1 aspect ratio at 24 frames per second. Panavision also had another 65mm system, (Ultra Panavision 70), which sprang from the MGM Camera 65 system they helped develop for MGM that was used to film Raintree County and Ben-Hur. Both Ultra Panavision 70 and MGM Camera 65 employed an anamorphic lens with a 1.25x squeeze on a 65mm negative (as opposed to 35mm CinemaScope which used a 2x compression, or 8-perf, horizontally filmed 35mm Technirama which used a 1.5x compression). When projected on a 70mm print, a 1.25x anamorphic projection lens was used to decompress the image to an aspect ratio of 2.76:1, one of the widest ever used in commercial cinema.

Decline[edit] Due to the high cost of 70 mm film and the expensive projection system and screen required to use the stock, distribution for films using the stock was limited, although this did not always hurt profits. Most 70 mm films were also re-released on 35mm film for a wider distribution after the initial debut of the film. South Pacific (1958), Lawrence of Arabia (1962), My Fair Lady (1964), and The Sound of Music (1965) are well-known films widely shown in 70 mm format with a general release in 35 mm format. Blow-ups[edit] During the 1970s, use of 65 mm stock for original photography declined markedly. However 70 mm "blow-ups" of films made in 35 mm were sometimes made for prestige showings.[5] These included such films as Camelot (1967), Oliver! (1968), Cromwell (1970), and Fiddler on the Roof (1971). These enlargements did not have the sharpness and smoothness of 70 mm origination, but these larger prints allowed for a brighter image on very big screens and were more stable when projected. In addition 70 mm prints also had better sound quality than was possible from 35 mm. However these "blow-ups" rarely used the full six channels of the Todd-AO system and instead used the four-track mixes made for 35 mm prints, the additional half-left and half-right speakers of the Todd-AO layout being fed with a simple mix of the signals intended for the adjacent speakers (known as a "spread") or simply left blank.[6] However, if a 70mm film was shown in a Cinerama theatre, the Cinerama sound system was used. From 1976 onwards many 70 mm prints used Dolby noise reduction on the magnetic tracks but Dolby disapproved of the "spread" and instead re-allocated the 6 available tracks to provide for left, center and right screen channels, left and right surround channels plus a "low-frequency enhancement" channel to give more body to low-frequency bass.[7] This layout came to be known as "5.1" (the "point one" is the low-frequency enhancement channel) and was subsequently adopted for digital sound systems used with 35 mm. In the 1980s the use of these "blow-ups" increased with large numbers of 70 mm prints being made of some blockbusters of the period such as the 125 70 mm prints made of The Empire Strikes Back (1980).[6] However the early 1990s saw the advent of digital sound systems (Dolby Digital, DTS and SDDS) for 35 mm prints which meant that 35 mm could finally match 70 mm for sound quality but at a far lower cost. Coupled with the rise of the multiplex cinema, which meant that audiences were increasingly seeing films on relatively small screens rather than the giant screens of the old "Picture Palaces", this meant that the expensive 70 mm format went out of favour again. The DTS digital sound-on-disc system was adapted for use with 70 mm film, thus saving the significant costs of magnetic striping, but this has not been enough to stop the decline, and 70 mm prints were rarely made. Current use[edit] In the late 20th century, the usage of 65 mm negative film drastically reduced, in part due to the high cost of 65 mm raw stock and processing. Some of the few films since 1990 shot entirely on 65 mm stock are Kenneth Branagh's Hamlet (1996), Ron Fricke's Baraka (1992), and its sequel Samsara (2011), Paul Thomas Anderson's The Master (2012), Quentin Tarantino's The Hateful Eight (2015), Christopher Nolan's Dunkirk (2017) (almost 80 minutes, about 75% of the film, were shot on 65 mm IMAX film, while the rest was shot on regular 65mm film), and Kenneth Branagh's Murder on the Orient Express (2017). Other films used 65 mm cameras sparingly, for selected scenes or special effects. Films with limited 65 mm footage include Terrence Malick's The New World (2005) and Christopher Nolan's previous four movies, The Dark Knight (featured 28 minutes of IMAX footage), Inception,[8] The Dark Knight Rises (over an hour in IMAX) and Interstellar . Since the 2010s most of the movie theaters across the world have converted to digital projection systems, largely eliminating 70mm film projectors.[9] 70mm has retained a niche market of amateurs and enthusiasts. Nationally and internationally, 70mm film (along with 35mm) remains of interest to many moviegoers and filmmakers due to the more nostalgic visual experience that they provide, in comparison to modern digital film. 70mm film festivals have taken place at The Somerville Theatre in Somerville, MA,[10] The Music Box Theatre in Chicago, IL,[11] and the Cinerama in Seattle WA.[12] Digital 70 mm cameras[edit] There are three types of digital cinema cameras with a 65 mm sensor, the Phantom 65, the Arri Alexa 65 and the forthcoming IMAX 2D Digital Camera. Otti International's Phil Kroll developed the world's first 65/70 mm telecine transfer system. This camera has been used in Hollywood to digitally master 70 and 65 mm films. Home media[edit] For home theater, VHS and DVD did not offer enough resolution to carry the full image quality captured by 70 mm film, and VHS and DVD video transfers were usually prepared from 35 mm reduction elements. The high-definition Blu-ray format, in contrast, can potentially reveal the quality advantage of 70 mm productions. Although telecine machines for 70 mm scanning are uncommon, high-resolution transfers from high-quality full-gauge elements can reveal impressive technical quality.

Uses of 70 mm[edit] Ultra Panavision[edit] An anamorphic squeeze combined with 65 mm film allowed for extremely wide aspect ratios to be used while still preserving quality. This was used in the 1957 film Raintree County and to incredible success in the 1959 film Ben-Hur and the 2015 film The Hateful Eight, which was filmed with the MGM Camera 65 process at an aspect ratio of 2.76:1. It required the use of a 1.25x anamorphic lens to horizontally compress the image, and a corresponding lens on the projector to uncompress it. Special effects[edit] Limited use of 65 mm film was revived in the late 1970s for some of the visual effects sequences in films like Close Encounters of the Third Kind, mainly because the larger negative did a better job than 35 mm negative of minimizing visible film grain during optical compositing. Since the 1990s, a handful of films (such as Spider-Man 2) have used it for this purpose, but the usage of digital intermediate for compositing has largely negated these issues. Digital intermediate offers other benefits such as lower cost and a greater range of available lenses and accessories to ensure a consistent look to the footage. IMAX[edit] Main article: IMAX A horizontal variant of 70 mm, with an even bigger picture area, is used for the high-performance IMAX format which uses a frame that is 15 perforations wide on 70 mm film. The Dynavision and Astrovision systems each use slightly less film per frame and vertical pulldown to save print costs while being able to project onto an IMAX screen. Both were rare, with Astrovision largely used in Japanese planetariums. In the 2014 movie Interstellar, a significant amount was shot in the IMAX format. Other scenes were shot in either 35 mm or in the standard 'vertical' 5-perf 65 mm format. IMAX introduced a digital projection system in the late 2000s and most IMAX venues have migrated to digital setup.[13] 70 mm 3D early use[edit] The first commercial introduction of 70 mm single projector 3D was the 1967 release of Con la muerte a la espalda, a Spanish/French/Italian co-production which used a process called Hi-Fi Stereo 70, itself based on a simplified, earlier developed soviet process called Stereo-70. This process captured two anamorphic images, one for each eye, side by side on 65 mm film. A special lens on a 70 mm projector added polarization and merged the two images on the screen. The 1971 re-release of Warner Bros.' House of Wax used the side-by-side StereoVision format and was distributed in both anamorphically squeezed 35 mm and deluxe non-anamorphic 70 mm form. The system was developed by Allan Silliphant and Chris Condon of StereoVision International Inc., which handled all technical and marketing aspects on a five-year special-royalty basis with Warner Bros. The big screen 3D image was both bright and clear, with all the former sync and brightness problems of traditional dual 35 mm 3D eliminated. Still, it took many years more before IMAX began to test the water for big-screen 3D, and sold the concept to Hollywood executives. IMAX 3D[edit] Hollywood has released films shot on 35 mm as IMAX blow-up versions. Many 3D films were shown in the 70 mm IMAX format. The Polar Express in IMAX 3D 70 mm earned 14 times as much, per screen, as the simultaneous 2D 35 mm release of that film in the fall of 2004. In 2011 IMAX introduced a 3D Digital camera based on two Phantom 65 cores. The camera has been used for documentaries as well as Hollywood films, the first being the 2014 release of Transformers: Age of Extinction.

Technical specifications[edit] Standard 65 mm (5/70) (Todd-AO, Super Panavision)[edit] spherical lenses 5 perforations/frame (1 perforation = 0.1875", thus 1 frame of 70mm = 0.9375" or 15/16") 42 frames/meter (12.8 frames/ft) 34.29 meters/minute (112.5 ft/minute) vertical pulldown 24 frames/second camera aperture: 52.63 by 23.01 mm (2.072 by 0.906 in)[14] projection aperture: 48.56 by 22.10 mm (1.912 by 0.870 in)[14] 305 m (1000 feet), about 9 minutes at 24 frame/s = 4.5 kg (10 pounds) in can aspect ratio: 2.20:1 Ultra Panavision 70 (MGM Camera 65)[edit] Main article: Ultra Panavision 70 Same as Standard 65mm except projection aperture: 48.59 by 22.05 mm (1.913 by 0.868 in)[14] MGM Camera 65 lenses built by Panavision employed a square-shaped, double wedge-prism anamorphic attachment in front of a shperical objective lens. By the time of Mutiny on the Bounty (1962) Panavision had developed a new set of Ultra Panavision 70 lenses that used a high quality cylindrical anamorphic element in front of the objective lens. These new lenses were far superior to the prism anamorphics—they were lighter, transmitted more light and suffered from less spherical and chromatic aberration. 1.25x squeeze factor, projected aspect ratio 2.76:1 Showscan[edit] Main article: Showscan Same as Standard 65 mm except 60 frames per second IMAX (15/70)[edit] spherical lenses 70mm film, 15 perforations per frame horizontal rolling loop movement, from right to left (viewed from emulsion side) 24 frames per second camera aperture: 70.41 mm × 52.63 mm (2.772 in × 2.072 in) projection aperture: at least 2 mm (0.079 in) less than camera aperture on the vertical axis and at least 0.41 mm (0.016 in) less on the horizontal axis aspect ratio: 1.43:1 DMR aspect ratio: 1.89:1, 2.39:1 IMAX Dome / OMNIMAX[edit] Same as IMAX except fisheye lens lens optically centered 9.4 mm (0.37 in) above film horizontal center line projected elliptically on a dome screen, 20° below and 110° above perfectly centered viewers Omnivision Cinema 180[edit] same as standard 65/70 except: photographed and projected with special fisheye lenses matched to large 180 degree dome screen Theatres upgraded from 70 mm 6track analog sound to DTS digital sound in 1995. Omnivision started in Sarasota, Florida. Theatres were designed to compete with Omnimax but with much lower startup and operating costs. Most theatres were built in fabric domed structures designed by Seaman Corporation. The last known OmniVision theatres to exist in USA are The Alaska Experience Theatre in Anchorage, Alaska, built in 1981 (closed in 2007, reopened in 2008), and the Hawaii Experience Theatre in Lahaina, Hawaii (closed in 2004). Rainbow's End (Theme Park) in NZ had the only remaining permanent Cinema 180 attraction until May 2015 when it was demolished. One of the few producers of 70 mm films for Cinema 180 was the German company Cinevision (today AKPservices GmbH, Paderborn). Dynavision (8/70)[edit] fisheye or spherical lenses, depending on if projecting for a dome or not vertical pulldown 24 or 30 frames per second camera aperture: 52.83 by 37.59 mm (2.080 by 1.480 in) Astrovision (10/90)[edit] vertical pulldown normally printed from an Omnimax negative projected onto a dome almost exclusively in use only by Japanese planetariums the only 70 mm format without sound, hence the only one with perforations next to the edges

See also[edit] 70 mm Grandeur film Cine 160 Cinerama Dolby Stereo 70 mm Six Track Super Panavision 70 Super Technirama 70 Todd-AO Ultra Panavision 70 List of film formats List of early wide-gauge films List of 70 mm films

References[edit] ^ "Preserving Wide Film History" Grant Lobban, Journal of the BKSTS Vol 67 No.4 April 1985 ^ "Preserving Wide Film History" Grant Lobban, Journal of the BKSTS Vol 67 No.4 (April 1985) ^ "In the Splendour of 70 mm Part 1" Grant Lobban, Journal of the BKSTS Vol68 No.12 December 1986 ^ "Atlanta Theatre". Cinema Treasures. Retrieved 1 December 2015.  ^ "In the Splendour of 70 mm Part 2" Grant Lobban Journal of the BKSTS Vol69 No.1 Jan 1987 ^ a b "Mixing Dolby Stereo Film Sound" Larry Blake Recording Engineer/Producer Vol12 No.1 Feb 1981 ^ The CP200 – A Comprehensive Cinema Theater Audio Processor David Robinson Journal of the SMPTE Sept 1981 ^ Weintraub, Steve 'Frosty' (25 March 2010). "Christopher Nolan and Emma Thomas Interview Inception – They Talk 3D, What Kind of Cameras They Used, Pre-Viz, WB, and a Lot More!". Collider. Archived from the original on 27 March 2010. Retrieved 1 December 2015.  ^ Barraclough, Leo (23 June 2013). "Digital Cinema Conversion Nears End Game". Variety. Retrieved 1 December 2015.  ^ Feedore, Elliott. "70mm Film Festival Celebrates Cinematic Classics | Scout Somerville". Retrieved 2017-05-19.  ^ Sobczynski, Peter. ""70mm Film Festival: The Ultimate Edition" Arrives at Chicago's Music Box Theater | Balder and Dash | Roger Ebert". Retrieved 2017-05-19.  ^ "Seattle Cinerama Big Screen 70MM Festival". Retrieved 2017-05-19.  ^ Frazer, Bryant (24 October 2013). "Film Loses More Ground As Imax Switches Flagship Theaters to Digital". Studio Daily. Retrieved 1 December 2015.  ^ a b c "Film Frame Dimensions". The American WideScreen Museum. Retrieved 1 December 2015. 

External links[edit] The American WideScreen Museum — The 70 mm Newsletter Devoted to 70 mm films new and old The History of the Todd-AO Projector v t e Motion picture film formats Film gauges 8 mm 9.5 mm 16 mm 17.5 mm 28 mm 35 mm 70 mm Film formats 35 mm CinemaScope (1953) VistaVision (1954) Modern anamorphic (1957) Techniscope (1960) Super 35 (1982) 70 mm Todd-AO (1955) Super Panavision 70 (1959) Technirama (1955) IMAX (1970) 35 mm × 3 Cinerama (1952) Kinopanorama (1958) Cinemiracle (1958) Aspect ratio standards Academy ratio 14:9 Anamorphic format Video framing issues Widescreen Anamorphic widescreen Letterbox Pan and scan (Fullscreen) Open matte Shoot and protect Authority control GND: 4611900-0 Retrieved from "" Categories: Movie film formats70 mm filmHidden categories: Articles needing additional references from August 2007All articles needing additional referencesWikipedia articles with GND identifiers

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Wikipedia:VerifiabilityHelp:Introduction To Referencing With Wiki Markup/1Help:Maintenance Template RemovalEnlargeFilm Gauge35 Mm FilmList Of Film FormatsFilm PerforationsAspect Ratio (image)CinemaScopePanavisionDigital CinemaHenley RegattaHerman CaslerCanastota, New YorkCinéoramaCineramaRaoul Grimoin-SansonFiloteo Alberini70 Mm Grandeur FilmFox Film Corporation70 Mm Grandeur FilmTodd-AO ProcessMike ToddCineramaTodd-AOOklahoma! (1955 Film)Around The World In 80 Days (1956 Film)The Sound Of Music (film)Patton (film)CinemascopeSuper Panavision 70Ultra Panavision 70Super Panavision 70Ultra Panavision 70MGM Camera 65Raintree County (film)Ben-Hur (1959 Film)CinemaScopeTechnirama35mm FilmSouth Pacific (1958 Film)Lawrence Of Arabia (film)My Fair Lady (film)The Sound Of Music (film)Camelot (film)Oliver! (film)Cromwell (film)Fiddler On The Roof (film)5.1 Surround SoundThe Empire Strikes BackDolby DigitalDTS (sound System)Sony Dynamic Digital SoundDTS (sound System)Kenneth BranaghHamlet (1996 Film)Ron FrickeBaraka (film)Samsara (2011 Film)Paul Thomas AndersonThe Master (2012 Film)Quentin TarantinoThe Hateful EightChristopher NolanDunkirk (2017 Film)Kenneth BranaghMurder On The Orient Express (2017 Film)Terrence MalickThe New World (2005 Film)Christopher NolanThe Dark Knight (film)InceptionThe Dark Knight RisesInterstellar (film)Somerville TheatreMusic Box Theatre (Chicago)CineramaDigital CinematographyArri AlexaIMAXTelecineBlu-rayTelecineAnamorphicRaintree County (film)Ben-Hur (1959 Film)The Hateful EightUltra Panavision 70Close Encounters Of The Third KindCompositingSpider-Man 2Digital IntermediateIMAXHorizontal PulldownVertical PulldownPlanetariumInterstellar (film)Warner Bros.House Of Wax (1953 Film)Chris CondonThe Polar Express (film)Digital CinematographyTransformers: Age Of ExtinctionVertical PulldownUltra Panavision 70Mutiny On The Bounty (1962 Film)ShowscanIMAXSpherical LensIMAX DomeFisheye LensSarasota, FloridaAnchorage, AlaskaLahaina, HawaiiRainbow's End (Theme Park)Planetarium70 Mm Grandeur FilmCine 160CineramaDolby Stereo 70 Mm Six TrackSuper Panavision 70Super Technirama 70Todd-AOUltra Panavision 70List Of Film FormatsList Of Early Wide-gauge FilmsList Of 70 Mm FilmsTemplate:Film FormatsTemplate Talk:Film FormatsFilm FormatFilm Gauge8 Mm Film9.5 Mm Film16 Mm Film17.5mm Film28 Mm Film35 Mm FilmList Of Film FormatsCinemaScopeVistaVisionAnamorphic FormatTechniscopeSuper 35Todd-AOSuper Panavision 70TechniramaIMAXCineramaKinopanoramaCinemiracleAspect Ratio (image)Academy Ratio14:9Anamorphic FormatWidescreenAnamorphic WidescreenLetterboxing (filming)Pan And ScanOpen MatteShoot And ProtectHelp:Authority ControlIntegrated Authority FileHelp:CategoryCategory:Movie Film FormatsCategory:70 Mm FilmCategory:Articles Needing Additional References From August 2007Category:All Articles Needing Additional ReferencesCategory:Wikipedia Articles With GND IdentifiersDiscussion About Edits From This IP Address [n]A List Of Edits Made From This IP Address [y]View The Content Page [c]Discussion About The Content Page [t]Edit This Page [e]Visit The Main Page [z]Guides To Browsing WikipediaFeatured Content – The Best Of WikipediaFind Background Information On Current EventsLoad A Random Article [x]Guidance On How To Use And Edit WikipediaFind Out About WikipediaAbout The Project, What You Can Do, Where To Find ThingsA List Of Recent Changes In The Wiki [r]List Of All English Wikipedia Pages Containing Links To This Page [j]Recent Changes In Pages Linked From This Page [k]Upload Files [u]A List Of All Special Pages [q]Wikipedia:AboutWikipedia:General Disclaimer

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