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Super Panavision
Panavision
70 was the marketing brand name used to identify movies photographed with Panavision
Panavision
70 mm spherical optics between 1959 and 1983.

Contents

1 History 2 Movies using Super Panavision
Panavision
70 3 Panavision
Panavision
System 65/Super 70 4 Movies using Panavision
Panavision
System 65/Super 70 5 See also 6 References 7 External links

History[edit] During the late 1950s, the Hollywood filmmaking community decided that changing from filming in the commonly accepted 35 mm format to 65 mm film would provide viewing audiences with an enhanced visual experience. To this end, cameras began to be designed to handle 65 mm film stock. The first camera system to be released using this format was Todd-AO, in 1955. The second was MGM Camera 65, a system designed by Panavision, which was introduced in 1956. In 1959, Panavision introduced Super Panavision
Panavision
70 to compete with these two systems. Unlike its counterpart Ultra Panavision
Panavision
70, which used anamorphic lenses, Super Panavision
Panavision
used spherical lenses to create a final aspect ratio of 2.20:1. Some of the films made in Super Panavision
Panavision
70 were presented in 70 mm Cinerama
Cinerama
in select theaters. Special
Special
optics were used to project the 70 mm prints onto a deeply curved screen to mimic the effect of the original three-strip Cinerama
Cinerama
process. The terms "Super Panavision
Panavision
70", " Panavision
Panavision
70" and "Super Panavision" were interchangeable, whereas the term "70mm Panavision" referred to films shot in 35mm anamorphic Panavision
Panavision
and blown up to 70mm for release. Movies using Super Panavision
Panavision
70[edit]

The Big Fisherman
The Big Fisherman
(1959) Exodus (1960) West Side Story (1961) Lawrence of Arabia (1962) My Fair Lady (1964) Cheyenne Autumn
Cheyenne Autumn
(1964) Lord Jim (1965) Grand Prix (1966) – presented in 70 mm Cinerama 2001: A Space Odyssey (1968) – presented in 70 mm Cinerama Ice Station Zebra (1968) – presented in 70 mm Cinerama Chitty Chitty Bang Bang (1968) Mackenna's Gold
Mackenna's Gold
(1969) Krakatoa, East of Java
Krakatoa, East of Java
(1969) – selected scenes in Todd-AO
Todd-AO
– presented in 70 mm Cinerama Song of Norway (1970) – advertised as "on the Cinerama
Cinerama
screen" in some countries Ryan's Daughter
Ryan's Daughter
(1970) Close Encounters of the Third Kind
Close Encounters of the Third Kind
(1977) – special effects shots only; early promotional material erroneously suggested that the entire film was produced in Super Panavision
Panavision
70 Tron
Tron
(1982) – 'Real world' live-action filmed in color 65 mm; Computer world live action filmed in 65 mm B&W, composited to a VistaVision
VistaVision
intermediate, and optically printed back to 70 mm IP. CGI sequences recorded to VistaVision. Brainstorm (1983) – virtual reality sequences only Auto-E-Motion (1984) – BMW promotional short subject Warriors of the Wasteland (1989) - short film

Panavision
Panavision
System 65/Super 70[edit] In 1991, as a response to an increased demand for 65 mm cameras (in the mid-80's Steven Spielberg
Steven Spielberg
had wanted to film Empire of the Sun
Empire of the Sun
in Super Panavision
Panavision
70 but didn't want to work with the old 65 mm camera equipment), Panavision
Panavision
introduced an updated line of 65 mm cameras and optics known as " Panavision
Panavision
System 65" and was monikered on Advertising and Release prints as " Panavision
Panavision
Super 70", which was designed to compete with the parallel development of the Arri
Arri
765 camera. The new System 65 camera was Self-Blimped, with Reflex viewing designed as the 65mm cousin to the 35mm Panaflex camera (and used many of the same accessories). Only two System 65 cameras were ever built--and the small fleet of old 65mm Hand-Held Reflex cameras had their lens mounts modified to accept the System 65 lenses. The System 65 lenses were all a medium-format variant of lens designs from the (then) current line of Panavision
Panavision
Primos. All System 65 telephoto lenses (i.e. 300 mm, 400 mm, 500 mm) were converted Canon telephotos. In the wake of the box office failure of the first Panavision
Panavision
System 65/Super 70 feature, the Tom Cruise/Nicole Kidman/ Ron Howard
Ron Howard
directed vehicle, Far and Away, combined with the fact that 35 mm digital stereo sound had arrived and minimized the multi-channel sound advantage the 70 mm format had, meant that a hoped-for renaissance in 65/ 70 mm film
70 mm film
production never really took off. Movies using Panavision
Panavision
System 65/Super 70[edit]

Far and Away
Far and Away
(1992) – During the "land rush" sequence, slow motion footage was filmed with Arri
Arri
765 cameras; plus a 35mm VistaVision camera and several 35 mm Panavision
Panavision
cameras with anamorphic lenses were used. Dead Sea (1992) – short film released in the Los Angeles area Hamlet (1996) The Witness (1998) – short film produced for the Mashantucket Pequot Museum in Connecticut Spider-Man 2
Spider-Man 2
(2004) – selected special effects shots only The New World (2005) – "hyper-reality" scenes only Inception
Inception
(2010) – "key sequences" Shutter Island (2010) – some scenes The Tree of Life (2011) – selected scenes Samsara (2011) – the first feature film photographed entirely in 65mm since Hamlet; theatrical release was presented in 4k digital projection and 35 mm anamorphic prints Snow White & the Huntsman (2012) – selected wide shots and second unit work The Dark Knight Rises
The Dark Knight Rises
(2012) – selected scenes The Master (2012) – The projected frame on 70mm release prints (and all digital prints) were "Hard Matted" to 1.85:1, clipping the sides and throwing away 16.3% of the full frame exposed on the 2.20:1 aspect ratio 65 mm negative. About 85% of the film was photographed in Panavision
Panavision
System 65; the rest was shot in spherical 35 mm with a 1.85:1 aspect ratio.[1] To the Wonder
To the Wonder
(2012) Jurassic World
Jurassic World
(2015) – some scenes Knight of Cups (2015) Batman v Superman: Dawn of Justice (2016) – some scenes Assassin's Creed (2016) Live by Night (2016) Dunkirk (2017)[2] - scenes that were not shot on 65mm IMAX
IMAX
film, about 25% of the film Murder on the Orient Express (2017)

See also[edit]

70 mm film Cinerama Super Technirama
Technirama
70 Todd-AO Ultra Panavision
Panavision
70

References[edit]

^ "The Master: Framed in 65mm for Maximum Visual Impact". Eastman Kodak. www.kodak.com. September 26, 2012. Retrieved September 30, 2012.  ^ Sharf, Zack (12 July 2017). "15 Essential Movies Shot On 70mm Film, From '2001: A Space Odyssey' to 'Dunkirk'". IndieWire. Archived from the original on 20 July 2017. 

External links[edit]

American Widescreen
Widescreen
Museum section on Super Panavision
Panavision
70

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
Panavision
70 (1959) Technirama (1955) IMAX (1970)

35 mm × 3

Cinerama (1952) Kinopanorama (1958) Cinemiracle (1958)

Aspect ratio
Aspect ratio
standards

Academy ratio 14:9 Anamorphic
Anamorphic
format

Video framing issues

Widescreen Anamorphic
Anamorphic
widescreen Letterbox Pan and scan
Pan and scan
(Fullscreen) Open matte

.