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Todd-AO
Todd-AO
is an American post-production company founded in 1953, providing sound-related services to the motion picture and television industries. The company operates three facilities in the Los Angeles area. Todd-AO
Todd-AO
is also the name of the widescreen, 70 mm film format that was developed by Mike Todd
Mike Todd
and the American Optical Company in the mid-1950s. Todd-AO
Todd-AO
had been founded to promote and distribute this system.

Contents

1 History

1.1 Todd-AO
Todd-AO
process 1.2 Curved screen vs. flat 1.3 Todd-AO
Todd-AO
and roadshows 1.4 Todd-AO
Todd-AO
attempts 35 mm widescreen

2 Timeline 3 Films produced in 70 mm Todd-AO 4 Awards

4.1 Feature film 4.2 Television

5 See also 6 References 7 External links

History[edit] Todd-AO
Todd-AO
began as a high resolution widescreen film format. It was co-developed in the early 1950s by Mike Todd, a Broadway producer, in partnership with the American Optical Company in Buffalo, New York. It was developed to provide a high definition single camera widescreen process to compete with Cinerama, or as characterized by its creator, " Cinerama
Cinerama
outta one hole". Where Cinerama
Cinerama
used a complicated setup of three separate strips of film photographed simultaneously, Todd-AO required only a single camera and lens. The company's focus began to shift after Mike Todd's sudden death in an airplane accident in 1958. The 70 mm Todd-AO
Todd-AO
process was adopted by Panavision, Cinerama
Cinerama
and others. As the production and exhibition markets became saturated with Todd-AO
Todd-AO
System hardware, the focus of the company gradually began to narrow down to the audio post-production side of the business, and Todd-AO
Todd-AO
became an independent sound mixing facility for commercial motion picture films and television after acquiring Glen Glenn Sound
Glen Glenn Sound
in 1986. In May 2014, Todd-AO's parent company, Todd Soundelux, filed for Chapter 11
Chapter 11
bankruptcy protection.[1] As part of the bankruptcy proceedings, they closed their Hollywood and Santa Monica facilities, leaving only their Burbank location operational.[2] On November 17, 2014 the Todd-Soundelux Trademarks (Todd AO and Soundelux) and Copyrights (Sound Effects Library) were acquired in Federal Bankruptcy Court (Central District Case No. 2:14-bk-19980) by Rob Nokes of Sounddogs.com, Inc.[3] Todd-AO
Todd-AO
process [edit]

Figure 1. Todd-AO: 65 mm negative and 70 mm positive

The Todd-AO
Todd-AO
process uses two separate film stocks; a 65 mm negative is used during production and then used to produce the 70 mm positives for distribution. The sprocket holes perforations on the two are the same, and the positives are printed using contact printing with the negatives centered on the larger 70 mm film. Contact printing was used on prints that were to be "double system," using a separate, synchronized 35 mm full-coat magnetic film for the 6 sound tracks, in addition to the 70 mm film
70 mm film
for the picture. The much more common 70 mm release prints used a slightly optically reduced picture, and placed 4 of the soundtracks on either edge outside of the perforations, and 2 more soundtracks inside the perforations, providing a total of 6 soundtraks, on a 7.5 mm magnetic surface. It is a common error to suppose that only 5 mm of space was devoted to the soundtracks, perhaps because writers do the math and find that 70 - 65 = 5, not allowing for a slightly reduced picture area to accommodate 2 tracks inside the sprocket holes, as well as 4 outside, and perhaps because the souvenir program for Around the World in 80 Days
Around the World in 80 Days
(1956) made this very same error! Anyone with a release print in front of them would immediately see the tracks between the picture and the holes, as well as the wider tracks (to hold 2 tracks each) outside the holes. In fact, they can be seen in Figure 1 of this article, above the caption "positive 70 mm." Todd-AO
Todd-AO
soundtracks were very high fidelity, indeed, and could hold their own with modern digital tracks above 40 Hz. Even though there were no subwoofers in theaters in those days, Todd-AO
Todd-AO
delivered high impact bass using crisp sounding horn loaded speakers. Four lens options covered a 128, 64, 48 or 37 degree field of view.The aspect ratio of this format was 2.20:1. Both film sizes had been used in the past, in the 70 mm Fox Grandeur process in 1929–1930, however Todd-AO's physical format was not compatible with this format. The use of 65 mm photography and 70 mm printing became the standard adopted by others: Super Panavision
Panavision
70 (essentially the Panavision
Panavision
company's version of Todd-AO) and Ultra Panavision 70 (the same mechanically, but with a slight 1.25:1 anamorphic squeeze to accommodate extremely wide aspect ratio images) are both 65/70 processes. The Soviet film industry also copied Todd-AO
Todd-AO
with their own Sovscope 70 process, identical, except that both the camera and print stock were 70 mm wide. The IMAX
IMAX
format also uses 65 mm camera and lab film to create 70 mm prints for projection (also known as the 65/70 mm process); conforming to the pitch and perforation standard for 70 mm Todd-AO
Todd-AO
film. However, IMAX
IMAX
frame is 15-perfs long and runs horizontally through the projector, whereas the Todd-AO
Todd-AO
frame is only 5-perfs high and runs vertically through the projector.[4] The original version of the Todd-AO
Todd-AO
process used a frame rate of 30 frames per second, faster than the 24 frames per second that was (and is) the standard. The difference does not seem great, but the sensitivity of the human eye to flickering declines steeply with frame rate and the small adjustment gave the film noticeably less flicker, and made it steadier and smoother than standard processes. The original system generated an image that was "almost twice as intense as any ever seen onscreen before, and so hot that the film has to be cooled as it passes through the Todd-AO
Todd-AO
projector".[5] Only the first two Todd-AO
Todd-AO
films, Oklahoma! and Around the World in Eighty Days, employed 30 frames per second photography. Because of the need for conventional versions at 24 frames per second, every scene of the former film was shot twice in succession: once in Todd-AO
Todd-AO
and once in 35 mm CinemaScope. The latter film was shot with two 65 mm Todd-AO
Todd-AO
cameras simultaneously, the speed of the second camera was 24 frames per second for wide release as optical reduction prints. All subsequent Todd-AO
Todd-AO
films were shot at 24 frames per second on a 65 mm negative and optically printed to 35 mm film as needed for standard distribution.[6] In all, around 16 feature films were shot in Todd-AO. Todd-AO
Todd-AO
was developed and tested in Buffalo, New York
Buffalo, New York
at the Regent Theatre. Richard Rodgers
Richard Rodgers
and Oscar Hammerstein II
Oscar Hammerstein II
went there to see Todd-AO
Todd-AO
test footage, which led them to approve its use for Oklahoma!. Ampex Corporation engineers were in charge of developing the Todd-AO sound system. Ampex would later go on to manufacture the sound system, including selectable four-track composite (CinemaScope) or six-track composite (Todd-AO) or four-track interlocked or six-track interlocked or optical sound sources. The Todd-AO
Todd-AO
Company also offered a 35 mm anamorphic process technically similar to 35 mm Panavision
Panavision
or CinemaScope. This may cause some confusion if a Todd-AO
Todd-AO
credit (not necessarily the more specific Todd-AO
Todd-AO
35 credit) appears in some widescreen films made in the 1970s and 1980s. It becomes even more confusing as 70 mm prints were made for films which, unlike earlier pictures made in the process, were shown in multiplexes, like Dune and Logan's Run. During the late 1970s through the early 1990s 65 mm photography such as that used in processes like Todd-AO
Todd-AO
or Super Panavision
Panavision
became rare. However, some major films had 70 mm prints made by blowup from 35 mm negatives mostly for the benefit of six-track sound. These prints would typically play only in a few theatres in a few large cities while everyone else viewed the film in 35 mm. The advent of multichannel digital sound in the 1990s obviated these very expensive prints. "Blow-up" 70 mm prints also followed the Todd-AO
Todd-AO
layout, although in the case of films made with a 1.85:1 aspect ratio, it was retained in the 70 mm version, with the sides of the 70 mm frame left black. Curved screen vs. flat[edit] While Todd-AO
Todd-AO
was intended to be " Cinerama
Cinerama
out of one hole", the extreme wide angle photography and projection onto a very deeply curved screen (which is what that would imply) saw little use. Most Todd-AO
Todd-AO
theatre installations had only moderately curved screens and the extreme wide angle camera lenses were used only on a few shots here and there. Todd-AO
Todd-AO
films made after 1958 used a conventional flat widescreen, and resembled ordinary films, except for their greater clarity and six-track stereo sound. A variation on Todd-AO
Todd-AO
called Dimension 150 did, however, make use of Cinerama-like deeply curved screens. Only two films were made in Dimension 150 – The Bible: In the Beginning, directed by John Huston, and Patton, starring George C. Scott. In some venues, however, Todd-AO
Todd-AO
and Dimension 150 films received their first run in Cinerama
Cinerama
theatres in order that they be shown on a deeply curved screen – such as the first Atlanta, Georgia showings of The Sound of Music.[7] Todd-AO
Todd-AO
and roadshows[edit] Todd-AO
Todd-AO
films were closely associated with what was called roadshow exhibition. At the time, before multiplex theatres became common, most films opened at a large single screen theatre in the downtown area of each large city before eventually moving on to neighborhood theatres. With the roadshow concept, a film would play, often in 70 mm at a movie palace downtown theatre exclusively, sometimes for a year or more. Often a "hard ticket" policy was in effect, with tickets sold for specific numbered seats, and limited showings per day. Most Todd-AO
Todd-AO
films through the late 1960s, including Those Magnificent Men in Their Flying Machines and The Sound of Music, were initially shown on a roadshow basis. In some US cities, individual theaters were converted for use in the 1950s as dedicated Todd-AO
Todd-AO
"Cinestage" showplaces. These theaters showed exclusive roadshow engagements of Todd-AO
Todd-AO
and other 70 mm films on large, deeply curved screens. They included the Rivoli Theatre in New York City,[8] the Cinestage Theatre in Chicago,[9] and Hunt's Cinestage Theatre in Columbus, Ohio.[10] The roadshow era ended in the early 1970s, although a very few films (among them Gandhi) were shown in roadshow format after that. Todd-AO
Todd-AO
attempts 35 mm widescreen[edit] In the 1970s, under the leadership of Dr. Richard Vetter, Todd-AO
Todd-AO
made an attempt to compete with Panavision
Panavision
in the 35 mm motion picture camera rental market. The company built a series of anamorphic lenses in the 2.35:1 scope format, and owned several camera bodies (Mitchell and Arriflex) that they would provide with the lens package. Of the five original Planet of the Apes films, Conquest of the Planet of the Apes is the only entry filmed in Todd-AO
Todd-AO
35 using ARRI
ARRI
Arriflex 35IIC cameras with lenses provided by The Carl Zeiss Group, (the other Apes pictures were filmed in Panavision). By the 1980s the venture was moribund, and was abandoned. Eventually all of the Todd-AO
Todd-AO
cameras and lenses, both 35 mm and 65 mm (70 mm), were sold to Cinema Products in Los Angeles. Cinema Products is now defunct. Timeline[edit]

1953: Mike Todd
Mike Todd
and the American Optical Company formed as a joint venture called Todd-AO
Todd-AO
for the purpose of developing and distributing a large film format presentation system which incorporates a wide, curved screen with multi-channel sound. 1955 & 56: Mike Todd
Mike Todd
produced two films which featured the new Todd-AO
Todd-AO
system. 1958: Mike Todd
Mike Todd
was killed in a plane crash. 1960s and 1970s: Although several blockbuster films were produced using the Todd-AO
Todd-AO
or Panavision
Panavision
versions of the 5-perf 70 mm format, market penetration of the Todd-AO
Todd-AO
system lost momentum, and was overtaken by the development of IMAX
IMAX
in the 1970s. 1986: Acquired Glen Glenn Sound. 1994: Acquired Film-Video Masters, Inc. 1999: Todd-AO
Todd-AO
was acquired by Liberty Media Group and became part of its Liberty Livewire entity. 2002: Liberty Livewire was renamed Ascent Media Group. 2005: Ascent Media Group was spun off from owner, Liberty Media, into Discovery Holding Company. 2007: Discovery Holding Company announced a restructuring plan where it intended to spin off its interest in Ascent Media and combine Discovery Communications with Advance/Newhouse Communications into a new holding company.[11] The reorganization was completed on September 17, 2008. 2007: The Todd-AO
Todd-AO
Scoring Stage closed.[12] 2008: What had previously existed as the "Creative Sound Services" division of Ascent Media Group was spun off from Discovery Holding Company to create CSS Studios, LLC, which became a wholly owned subsidiary of Discovery Communications. This transaction included the assets of Todd-AO, Soundelux, Sound One, POP Sound, Modern Music, Soundelux Design Music Group and The Hollywood Edge.[13] 2012: CSS Studios, LLC was acquired by Empire InvestmentHoldings, which filed bankcruptcy for Todd Soundelux in May 2014. 2014: In May 2014, Todd Soundelux filed for bankruptcy, closing their Hollywood and Santa Monica facilities.[2] 2014: November 17, 2014 the Todd-Soundelux Trademarks (Todd AO and Soundelux) and Copyrights (Sound Effects Library) were acquired in Federal Bankruptcy Court (Central District Case No. 2:14-bk-19980) by Rob Nokes of Sounddogs.com, Inc. [14]

Films produced in 70 mm Todd-AO[edit] The following films were produced in the 70 mm Todd-AO
Todd-AO
format. (This list does not include films photographed in Todd-AO
Todd-AO
35 (see above)).

Oklahoma! (1955) – 30 frame/s (also photographed in CinemaScope
CinemaScope
for conventional distribution) Around the World in Eighty Days (1956) – 30 frame/s (also photographed in Todd-AO
Todd-AO
24 frames/s and reduction-printed for conventional CinemaScope
CinemaScope
distribution) The Miracle of Todd-AO
Todd-AO
(1956) – 30 frame/s; short subject South Pacific (1958) – this and all subsequent were 24 frame/s The March of Todd-AO
Todd-AO
(1958) – short subject Porgy and Bess (1959) Can-Can (1960) The Alamo (1960) Scent of Mystery
Scent of Mystery
(1960) – credited als Todd 70 Cleopatra (1963) Man in the 5th Dimension
Man in the 5th Dimension
(1964) – NYC World's Fair short subject The Sound of Music (1965) Those Magnificent Men in Their Flying Machines
Those Magnificent Men in Their Flying Machines
(1965) The Agony and the Ecstasy (1965) The Bible: In the Beginning (1966) – Dimension 150 variant Doctor Dolittle (1967) Star! (1968) Hello, Dolly! (1969) Krakatoa, East of Java
Krakatoa, East of Java
(1969) – selected scenes (see Super Panavision
Panavision
70) – presented in 70 mm Cinerama Airport (1970) Patton (1970) – Dimension 150 variant The Last Valley
The Last Valley
(1971) Baraka (1992)

Awards[edit] Feature film[edit]

Year Award Category Type Title Honorees

2013 BAFTA Award Best Sound Nominated Django Unchained Wylie Stateman, Michael Minkler, Tony Lamberti, Mark Ulano

2009 Academy Award Best Sound Mixing Nominated Inglourious Basterds Michael Minkler, Tony Lamberti, Mark Ulano

2007 Academy Award Best Sound Mixing Won The Bourne Ultimatum Scott Millan, David Parker, Kirk Francis

2006 Academy Award Best Sound Mixing Won Dreamgirls Michael Minkler, Bob Beemer, Willie D. Burton

2006 BAFTA Award Best Sound Nominated Babel José Antonio García, Jon Taylor, Christian P. Minkler, Martín Hernández

2006 BAFTA Award Best Sound Nominated Crash Richard Van Dyke, Sandy Gendler, Adam Jenkins, Marc Fishman

2005 BAFTA Award Best Sound Nominated Collateral Elliott Koretz, Lee Orloff, Michael Minkler, Myron Nettinga

2004 BAFTA Award Best Sound Nominated Kill Bill: Volume 1 Michael Minkler, Myron Nettinga, Wylie Stateman, Mark Ulano

2003 BAFTA Award Best Sound Won Chicago Michael Minkler, Dominick Tavella, David Lee

2002 Academy Award Best Sound Won Chicago Michael Minkler, Dominick Tavella, David Lee

2002 BAFTA Award Best Sound Nominated Black Hawk Down Michael Minkler, Myron Nettinga, Chris Munro

2001 Academy Award Best Sound Won Black Hawk Down Michael Minkler, Myron Nettinga, Chris Munro

2000 Academy Award Best Sound Won Gladiator Scott Millan, Bob Beemer, Ken Weston

1998 Academy Award Best Sound Won Saving Private Ryan Gary Rydstrom, Tom Johnson, Gary Summers, Ron Judkins

1997 Academy Award Best Sound Nominated L.A. Confidential Andy Nelson, Anna Behlmer, Kirk Francis

1996 Academy Award Best Sound Nominated Evita Andy Nelson, Anna Behlmer, Ken Weston

1995 Academy Award Best Sound Won Apollo 13 Rick Dior, Steve Pederson, Scott Millan, David MacMillan

1995 Academy Award Best Sound Nominated Braveheart Andy Nelson, Scott Millan, Anna Behlmer, Brian Simmons

1994 Academy Award Best Sound Nominated Legends of the Fall Paul Massey, David Campbell, Christopher David, Douglas Ganton

1994 Academy Award Best Sound Won Speed Gregg Landaker, Steve Maslow, Bob Beemer, David MacMillan

1993 Academy Award Best Sound Nominated Schindler's List Andy Nelson, Steve Pederson, Scott Millan, Ron Judkins

1992 Academy Award Best Sound Won The Last of the Mohicans Chris Jenkins, Doug Hemphill, Mark Smith, Simon Kaye

1990 Academy Award Best Sound Nominated Dick Tracy Chris Jenkins, David E. Campbell, D.M. Hemphill, Thomas Causey

1988 Academy Award Best Sound Nominated Who Framed Roger Rabbit Robert Knudson, John Boyd, Don Digirolamo, Tony Dawe

1987 Academy Award Best Sound Nominated Empire of the Sun Robert Knudson, Don Digirolamo, John Boyd, Tony Dawe

1985 Academy Award Best Sound Won Out of Africa Chris Jenkins, Gary Alexander, Larry Stensvold, Peter Handford

1982 Academy Award Best Sound Won E.T. the Extra-Terrestrial Robert Knudson, Robert Glass, Don Digirolamo, Gene S. Cantamessa

1979 Academy Award Best Sound Nominated 1941 Robert Knudson, Robert Glass, Don MacDougall, Gene S. Cantamessa

1978 Academy Award Best Sound Nominated Hooper Robert Knudson, Robert Glass, Don MacDougall, Jack Solomon

1977 Academy Award Best Sound Nominated Sorcerer Robert Knudson, Robert Glass, Richard Tyler, Jean-Louis Ducarme

1977 Academy Award Best Sound Nominated Close Encounters of the Third Kind Robert Knudson, Robert Glass, Don MacDougall, Gene S. Cantamessa

1976 Academy Award Best Sound Nominated A Star is Born Robert Knudson, Dan Wallin, Robert Glass, Tom Overton

1973 Academy Award Best Sound Won The Exorcist Robert Knudson, Chris Newman

1972 Academy Award Best Sound Won Cabaret Robert Knudson and David Hildyard

1965 Academy Award Best Sound Won The Sound of Music Fred Hynes

1963 Academy Award Best Sound Nominated Cleopatra Fred Hynes

1961 Academy Award Best Sound Won West Side Story Fred Hynes

1960 Academy Award Best Sound Won The Alamo Fred Hynes

1959 Academy Award Best Sound Nominated Porgy and Bess Fred Hynes

1958 Academy Award Best Sound Won South Pacific Fred Hynes

1957 Academy Award Academy Scientific and Technical Award Won Todd-AO
Todd-AO
System Todd-AO
Todd-AO
Corp Westrex Corp

1955 Academy Award Best Sound Recording Won Oklahoma Fred Hynes

Television[edit]

Year Award Category Type Title Honorees

2013 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour) Nominated Game of Thrones: And Now His Watch Is Ended Mathew Waters, Onnalee Blank, Ronan Hill

2013 Emmy Award Outstanding Sound Editing for a Series Nominated Game of Thrones: And Now His Watch Is Ended Tim Kimmel, Paula Fairfield, Jed M. Dodge, Bradley C. Katona, David Klotz, Brett Voss, Jeffrey Wilhoit, James Moriana

2013 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour) Nominated Mad Men: The Flood Ken Teaney, Alec St. John, Peter Bentley

2013 Emmy Award Outstanding Sound Editing for a Series Nominated Nikita: Aftermath George Haddad, Ruth Adelman, Chad J. Hughes, Steve Papagiannis, Dale Chaloukian, Ashley Revell, James M. Bailey

2013 CAS Award Sound Mixing - Television
Television
Series Nominated Game of Thrones: Blackwater Onnalee Blank, Mathew Waters, Ronan Hill and Brett Voss

2013 CAS Award Sound Mixing - Television
Television
Series Nominated Mad Men: Commissions and Fees Ken Teaney, Alec St. John, Peter Bentley

2012 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Miami: Blown Away Timothy I. Kimmel, Brad Katona, Ruth Adelman, Todd Niesen, Skye Lewin, Joseph Sabella and James Bailey

2012 Emmy Award Outstanding Sound Editing for a Series Won Game of Thrones: Blackwater Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson, Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit and David Klotz

2012 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour) Won Game of Thrones: Blackwater Mathew Waters, Onnalee Blank, Ronan Hill, Mervyn Moore

2012 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation Nominated Entourage: The End Tom Stasinis, Dennis Kirk, Todd Orr

2011 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation Won Family Guy: Road to the North Pole James F. Fitzpatrick and Patrick Clark

2011 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour) Nominated Mad Men: The Suitcase Ken Teaney, Todd Orr, Peter Bentley

2011 Emmy Award Outstanding Sound Editing for a Series Nominated Nikita: Pandora George Haddad, Dale Chaloukian, Ruth Adelman, Chad J. Hughes, Ashley Revell, James Bailey and Joseph T. Sabella

2011 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: NY: Life Sentence Mark Relyea, Edmund Lachmann, David Barbee, Ruth Adelman, Kevin McCullough, Joshua Winget, Joseph T. Sabella and James M. Bailey

2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Won The Pacific: Part Two Michael Minkler, Daniel Leahy, Andrew Ramage

2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated The Pacific: Part Five Michael Minkler, Daniel Leahy, Craig Mann, Andrew Ramage

2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated 'The Pacific: Part Eight Michael Minkler, Daniel Leahy, Marc Fishman, Gary Wilkins

2010 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated The Pacific: Part Nine Michael Minkler, Daniel Leahy, and Gary Wilkins

2010 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) And Animation Won Entourage: One Car, Two Car, Red Car, Blue Car' Tom Stasinis CAS, Dennis Kirk, Alec St. John and Todd Orr

2010 CAS Award Sound Mixing - Television
Television
Series Won Mad Men: Guy Walks Into an Advertising Agency Ken Teaney, Todd Orr, Peter Bentley

2009 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) And Animation Won Entourage: Pie Tom Stasinis CAS, Dennis Kirk and Bill Jackson

2009 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Crime Scene Investigation: Mascara Mace Matiosian, Ruth Adelman, Jivan Tahmizian, David Van Slyke, Joseph Sabella and James Bailey

2008 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Won John Adams: Don't Tread On Me Marc Fishman and Tony Lamberti

2008 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated John Adams: Join Or Die Michael Minkler and Bob Beemer

2008 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Crime Scene Investigation: Fight Night Mace Matiosian, Ruth Adelman, Jivan Tahmizian, David Van Slyke, Chad Hughes, Joseph Sabella, Zane Bruce

2008 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation Nominated Entourage: Adios Amigo Dennis Kirk and Bill Jackson

2007 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) And Animation Won Entourage: One Day In The Valley Dennis Kirk and Mark Fleming

2007 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour) Won CSI: Crime Scene Investigation: Living Doll Yuri Reese and Bill Smith

2007 Emmy Award Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour) Nominated The Sopranos: Stage 5 Kevin Burns and Todd Orr

2007 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Miami: No Man's Land Tim Kimmel, Ruth Adelman, Todd Niesen, Bradley C. Katona, Skye Lewin, Zane Bruce, Joseph Sabella

2006 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated CSI: Crime Scene Investigation: A Bullet Runs Through It Yuri Reese and Bill Smith

2006 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Crime Scene Investigation: A Bullet Runs Through It: Part 1 Mace Matiosian, Ruth Adelman, Mark Allen, Zane Bruce, Troy Hardy, Joseph Sabella, Jivan Tahmizian, David Van Slyke

2005 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special Won The Life and Death of Peter Sellers Anna MacKenzie, Victoria Brazier, Felicity Cottrell, Zack Davis, Richard Ford, Tim Hands, Laura Lovejoy, James Mather, Geoff Rubay, Ruth Sullivan

2005 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Miami: Lost Son Ruth Adelman, Zane Bruce, Ann Hadsell, Bradley C. Katona, Skye Lewin, Todd Nieson, Joseph Sabella

2005 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Crime Scene Investigation: Down the Drain Mace Matiosian, Ruth Adelman, Zane Bruce, Christine Luethje, Todd Nieson, Joseph Sabella, Jivan Tahmizian, David Van Slyke

2005 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated CSI: Crime Scene Investigation: Down the Drain Yuri Reese and Bill Smith

2005 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Miniseries or a Movie Won Warm Springs Adam Jenkins and Rick Ash

2005 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Miniseries or a Movie Nominated The Life and Death of Peter Sellers Adam Jenkins and Rick Ash

2005 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Miniseries or a Movie Nominated Lackawanna Blues Adam Jenkins and Rick Ash

2004 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special Nominated And Starring Pancho Villa as Himself Tony Lamberti, Zack Davis, Lou Kleinman, Michael Lyle, Carey Milbradt, Allan K. Rosen, Geoffrey G. Rubay, Bruce Tanis, Karen Vassar, Nicholas Viterelli, Dave Williams, Joshua Winget

2004 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated CSI: Crime Scene Investigation: Grissom vs. The Volcano Yuri Reese and Bill Smith

2004 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated The Sopranos: Irregular Around The Margins Todd Orr and Kevin Burns

2004 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated Traffic: Part 1 Marc Fishman, Tony Lamberti, Kevin Burns

2004 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated Something the Lord Made Adam Jenkins and Rick Ash

2003 Emmy Award Outstanding Sound Editing for a Series Won CSI: Crime Scene Investigation: Fight Night Mace Matiosian, Ruth Adelman, Zane Bruce, Sheri Ozeki, Joseph Sabella, Jivan Tahmizian, David Van Slyke

2003 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated CSI: Crime Scene Investigation: Revenge Is Best Served Cold" Yuri Reese and Bill Smith]]

2003 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated The Sopranos: Whoever Did This Todd Orr and Kevin Burns

2003 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Won Live From Baghdad Adam Jenkins, Rick Ash, Drew Webster

2003 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated The Music Man Todd Orr and Kevin Burns

2003 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated A Painted House Todd Orr and Kevin Burns

2002 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Crime Scene Investigation: Chasing the Bus Mace Matiosian, Ruth Adelman, Zane Bruce, Sheri Ozeki, Joe Sabella, Jivan Tahmizian, David Van Slyke

2002 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated CSI: Crime Scene Investigation: Another Toothpick Yuri Reese and Bill Smith

2002 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated Band of Brothers: Carentan Todd Orr and Kevin Burns

2001 Emmy Award Outstanding Sound Editing for a Series Nominated CSI: Crime Scene Investigation: 35K OBO Mace Matiosian, Ruth Adelman, Zane Bruce, Stan Jones, Joe Sabella, Jivan Tahmizian, David Van Slyke

2001 Emmy Award Outstanding Single- Camera
Camera
Sound Mixing for a Series Nominated The Sopranos: D-Girl Todd Orr, Kevin Burns, Fred Tator

2001 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated South Pacific Rick Ash, Joe Earle, Joel Moss

2001 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated Dirty Pictures Todd Orr, Kevin Burns, Tom Perry

2000 Emmy Award Outstanding Sound Editing for a Series Nominated The Others: Eyes Mace Matiosian, Harry Cohen, Ruth Adelman, Mike Broomberg, Zane Bruce, Diane Griffen, Jivan Tahmizian and Guy Tsujimoto

2000 Emmy Award Outstanding Sound Mixing for a Drama Series Nominated The Sopranos: D-Girl Todd Orr, Kevin Burns, Tom Perry

1999 Emmy Award Outstanding Sound Editing for a Series Nominated Buffy The Vampire Slayer: Lover's Walk Anna MacKenzie, Mike Marchain, William Angarola, Fernand Bos, Zane Bruce, Mark Cleary, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella and Ray Spiess, Jr.

1999 Emmy Award Outstanding Sound Editing for a Series Nominated The Sopranos: I Dream Of Jeannie Cusamano Anna MacKenzie, Mike Marchain, William Angarola, Benjamin Beardwood, Zane Bruce, Mark, Kathryn Dayak, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella, Ray Spiess, Jr. and Bruce Swanson

1999 Emmy Award Outstanding Sound Mixing for a Drama Series Nominated The Sopranos: A Hit Is A Hit Todd Orr, Ron Evans, Adam Sawelson

1999 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special Nominated A Soldier's Sweetheart Anna MacKenzie, Mike Marchain, William Angarola, Ron Finn, Robert Guastini, Rick Hinson, Jason Lezama, Chris Moriana, Cindy Rabideau, Catherine Rose, Raymond Spiess III and Ray Spiess Jr.

1999 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special Nominated Houdini Anna MacKenzie, Mike Marchain, Skip Adams, William Angarola, Zane Bruce, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella, Ray Spiess, Jr. and Jeanette Surga

1998 Emmy Award Outstanding Sound Editing for a Series Nominated The Visitor: Pilot Anna MacKenzie, William Angarola, Michael Broomberg, Mark J. Cleary, Robert Guastini, Rick Hinson, Jimmy Moriana, Cindy Rabideau, Jay Richardson, Raymond Spiess III, Ray Spiess Jr.

1998 Emmy Award Outstanding Sound Mixing for a Miniseries or a Movie Nominated A Lesson Before Dying Rich Ash and Gary Alexander

1998 Emmy Award Outstanding Sound Editing for a Miniseries, Movie or a Special Nominated Creature Anna MacKenzie, Mike Marchain, William Angarola, Steve Bissinger, Mark J. Cleary, Robert Guastini, Ellen Heuer, Rick Hinson, Jason Lezama, Aaron Martin, Craig Ng, Cindy Rabideau, Raymond Spiess III, Ray Spiess Jr.

1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie Won 12 Angry Men Adam Jenkins and David E. Fluhr

1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie Nominated From The Earth To The Moon: Le Voyage Dans La Lune Todd Orr and Kevin Burns

1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie Nominated From The Earth To The Moon: 1968 Scott Millan and Brad Sherman

1998 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Movie Nominated From The Earth To The Moon: That's All There Is Rich Ash and Adam Sawelson

1997 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Special Won Titanic Adam Jenkins, Don Digirolamo, Davide E. Fluhr

1997 Emmy Award Outstanding Sound Mixing for a Drama Miniseries or a Special Nominated Apollo 11 Todd Orr, Kevin Burns, Jon Taylor

1997 Emmy Award Outstanding Sound Mixing Won Flipper Jon Taylor, Kevin Burns and Todd Orr

1996 Emmy Award Outstanding Sound Mixing Won Flipper Kevin Burns, Jon Taylor and Chris Minkler

1993 Emmy Award Outstanding Sound Mixing for a Comedy Series or a Special Won Doogie Howser, M.D.: Doogie Got a Gun Joe Kenworthy, Mike Getlin, Dean Okrand and Bill Thiederman

1992 Emmy Award Outstanding Sound Mixing for a Comedy Series or a Special Won Doogie Howser, M.D.: Lonesome Doog Joe Kenworthy, Bill Thiederman, Dean Okrand and Mike Getlin

1992 Emmy Award Outstanding Sound Editing for a Series Won Law & Order: Heaven David Hankins, Frank A. Fuller Jr., Peter Bergren, David A. Cohen, Richard Thomas, Barbara Issak, James Hebenstreit, Albert Edmund Lord III and Barbara Schechter

1991 Emmy Award Outstanding Sound Mixing for a Comedy Series or a Special Won Doogie Howser, M.D.: Doogenstein Joe Kenworthy, Dean Okrand, Bill Thiederman and Mike Getlin

1987 Emmy Award Outstanding Sound Editing for a Miniseries or a Special Won Unnatural Causes Vince Gutierrez, William H. Angarola, Clark Conrad, Doug Gray, Mace Matiosian,Anthony Mazzei, Michael J. Mitchell, Matt Sawelson, Edward F. Suski, Dan Carlin Sr., James Wolvington, Barbara Issak and Jon Johnson

1987 Emmy Award Outstanding Sound Editing for a Series Won Max Headroom: Blipverts Doug Grindstaff, Richard Corwin, Clark Conrad, Brad Sherman, Richard Taylor, James Wolvington and Dick Bernstein

1985 Emmy Award Outstanding Live And Tape Sound Mixing And Sound Effects For A Series Won Cheers: The Executive's Executioner Doug Gray, Michael Ballin, Thomas J. Huth and Sam Black

1985 Emmy Award Outstanding Film
Film
Sound Mixing For A Limited Series Or A Special Won Space: Part 5 Clark King, David J. Hudson, Mel Metcalfe and Terry Porter

1985 Emmy Award Outstanding Film
Film
Sound Mixing For A Series Won Cagney & Lacey: Heat Maury Harris, John Asman, Bill Nicholson and Ken S. Polk

1984 Emmy Award Outstanding Live and Tape Sound Mixin and Sound Effects for a Series Won Real People: Hawaii Show - Sarah's Wedding Mark Hanes, Stu Fox, Dean Okrand and Edward F. Suski

1984 Emmy Award Outstanding Film
Film
Sound Mixing for a Limited Series or a Special Won A Streetcar Named Desire Richard Raguse, William L. McCaughey, Mel Metcalfe and Terry Porter

1983 Emmy Award Outstanding Film
Film
Sound Mixing for a Limited Series or a Special Won The Scarlet and the Black John W. Mitchell, Gordon L. Day, Stan Wetzel and Howard Wilmarth

1983 Emmy Award Outstanding Film
Film
Sound Editing for a Series Won Hill Street Blues: Stan the Man Sam Horta, Donald W. Ernst, Avram D. Gold, Eileen Horta, Constance A. Kazmer and Gary Krivacek

1982 Emmy Award Outstanding Film
Film
Sound Mixing Won Hill Street Blues: Personal Foul Bill Marky, Robert W. Glass Jr., Bill Nicholson and Howard Wilmarth

1980 Emmy Award Outstanding Film
Film
Sound Mixing Won The Ordeal of Dr. Mudd Ray Barons, David E. Campbell, Robert Pettis and John T. Reitz

1979 Emmy Award Outstanding Film
Film
Sound Editing Won Friendly Fire Bill Wistrom

1970 Emmy Award Outstanding Film
Film
Sound Mixing Won Mission: Impossible Dominick Gaffey and Gordon L. Day

See also[edit]

70 mm film Philips DP70
Philips DP70
(the theater projector developed as part of the Todd-AO system) Cinerama Glen Glenn Sound List of 70 mm films List of film formats Super Panavision
Panavision
70 Super Technirama
Technirama
70 Ultra Panavision
Panavision
70

References[edit]

^ Palank, Jacqueline (22 May 2014). "Soundelux Enters Bankruptcy, Seeks Cash". The Wall Street Journal.  ^ a b Frazer, Bryant (22 May 2014). "Todd-Soundelux Files for Chapter 11 Bankruptcy Protection, Shuttering Hollywood and Santa Monica Locations". Studio Daily.  ^ Deadline.com ^ SMPTE Standard 145:2004 For Motion-Picture Film
Film
(65-mm) — Perforated KS-Scope ^ "Cinema: The New Pictures". Time. October 29, 1956. Retrieved 2010-10-01.  ^ Kurtti, Jeff (1996). The great movie musical trivia book (1. print. ed.). New York: Applause. p. 163. ISBN 9781557832221. Retrieved 6 January 2013.  ^ Cinema Treasures Atlanta Theatre ^ "Rivoli Theatre". Cinema Treasures. Retrieved 2009-06-02.  ^ "Cinestage Theatre". Cinema Treasures. Retrieved 2009-06-02.  ^ "Hunt's Cinestage Theatre". Cinema Treasures. Retrieved 2009-06-02.  ^ " CNN
CNN
Money". CNN. Archived from the original on December 31, 2007.  ^ Burlingame, Jon (2007-08-22). "Todd-AO's fate could impact scoring". Variety.  ^ Post Magazine ^ Deadline.com

External links[edit]

Todd-AO
Todd-AO
official site Internet Movie Database listing of films shot in Todd-AO Todd-AO
Todd-AO
information from in70 mm.com WideScreen Museum history of Todd-AO Todd: " Cinerama
Cinerama
outa one hole" Journal of Film
Film
Preservation N° 56 on page 19: The history of the Todd-AO
Todd-AO
projector, known as the DP70

v t e

Motion picture film formats

Film
Film
gauges

8 mm 9.5 mm 16 mm 17.5 mm 28 mm 35 mm 70 mm

Film
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
Anamorphic
format

Video framing issues

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

.