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70mm
70 mm film (or 65 mm film) is a wide high-resolution film gauge for motion picture photography, with a negative area nearly 3.5 times as large as the standard 35 mm motion picture film format. As used in cameras, the film is wide. For projection, the original 65 mm film is printed on film. The additional 5 mm contains the four magnetic strips, holding six tracks of stereophonic sound. Although later 70 mm prints use digital sound encoding (specifically the DTS format), the vast majority of existing and surviving 70 mm prints pre-date this technology. Each frame is five perforations tall, with an aspect ratio of 2.2:1. However, the use of anamorphic Ultra Panavision 70 lenses squeezes the image into an ultra-wide 2.76:1 aspect ratio. To this day, Ultra Panavision 70 produces the widest picture size in the history of filmmaking; surpassed only by Polyvision, which was only used for 1927's Napoleon. With regard to exhibition, 70 mm f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
70 Mm Grandeur Film
70mm Grandeur film, also called Fox Grandeur or Grandeur 70, is a 70mm widescreen film format developed by William Fox through his Fox Film and Fox-Case corporations and used commercially on a small but successful scale in 1929–30. Filmography In 1925, with the advent of television on the horizon, William Fox of the Fox Film Studio empire envisioned a "grand" cinema experience to keep the public coming to the movie theaters. As such, he soon put full efforts behind enhancing the silent 35mm film showings by the addition of sound to be coupled to a wider than 35mm end product, with the hoped for result being a grand and lifelike experience for the viewers. This wide screen vision of William Fox soon resulted in his creating a partnership with Theodore Case and his assistant, Earl Sponable, pioneers of Sound on Film, with the partnership to be named the Fox-Case Corporation. The result was, first, the advent of Movietone Sound, then soon combined with the 70mm "Grandeur" wide scre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
MGM Camera 65
Ultra Panavision 70 and MGM Camera 65 were, from 1957 to 1966, the marketing brands that identified motion pictures photographed with Panavision's anamorphic movie camera lenses on 65 mm film. Ultra Panavision 70 and MGM Camera 65 were shot at 24 frames per second (fps) using anamorphic camera lenses. Ultra Panavision 70 and MGM Camera 65's anamorphic lenses compressed the image 1.25 times, yielding an extremely wide aspect ratio of 2.76:1 (when a 70 mm projection print was used). Ultra Panavision saw much less use than its sibling, the more popular Super Panavision 70, and was only used on ten films from 1957 to 1966. However, nearly fifty years later, Robert Richardson famously resurrected Ultra Panavision 70 after the lens test he came to do at the Panavision headquarters for the upcoming project with Quentin Tarantino, where he discovered that the lenses and equipment were still intact. Tarantino was fascinated by this and was able to refurbish the lenses for use in his next f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ultra Panavision 70
Ultra Panavision 70 and MGM Camera 65 were, from 1957 to 1966, the marketing brands that identified motion pictures photographed with Panavision's anamorphic movie camera lenses on 65 mm film. Ultra Panavision 70 and MGM Camera 65 were shot at 24 frames per second (fps) using anamorphic camera lenses. Ultra Panavision 70 and MGM Camera 65's anamorphic lenses compressed the image 1.25 times, yielding an extremely wide aspect ratio of 2.76:1 (when a 70 mm projection print was used). Ultra Panavision saw much less use than its sibling, the more popular Super Panavision 70, and was only used on ten films from 1957 to 1966. However, nearly fifty years later, Robert Richardson famously resurrected Ultra Panavision 70 after the lens test he came to do at the Panavision headquarters for the upcoming project with Quentin Tarantino, where he discovered that the lenses and equipment were still intact. Tarantino was fascinated by this and was able to refurbish the lenses for use in his n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Film Formats
This list of motion picture film formats catalogues formats developed for shooting or viewing motion pictures, ranging from the Chronophotographe format from 1888, to mid-20th century formats such as the 1953 CinemaScope format, to more recent formats such as the 1992 IMAX HD format. To be included in this list, the formats must all have been used in the field or for test shooting, and they must all use photochemical images that are formed or projected on a film base, a transparent substrate which supports the photosensitive emulsion. As well, the formats must have been used to make more than just a few test frames. The camera must be fast enough (in frames per second) to create an illusion of motion consistent with the persistence of vision phenomenon. The format must be significantly unique from other listed formats in regard to its image capture or image projection. The format characteristics should be clearly definable in several listed parameters (e. g., film gauge, as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinerama
Cinerama is a widescreen process that originally projected images simultaneously from three synchronized 35mm projectors onto a huge, deeply curved screen, subtending 146° of arc. The trademarked process was marketed by the Cinerama corporation. It was the first of a number of novel processes introduced during the 1950s, when the movie industry was reacting to competition from television. Cinerama was presented to the public as a theatrical event, with reserved seating and printed programs, and audience members often dressed in their best attire for the evening. The Cinerama projection screen, rather than being a continuous surface like most screens, is made of hundreds of individual vertical strips of standard perforated screen material, each about inch (~22 mm) wide, with each strip angled to face the audience, so as to prevent light scattered from one end of the deeply curved screen from reflecting across the screen and washing out the image on the opposite end ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oklahoma! (1955 Film)
''Oklahoma!'' is a 1955 American musical film based on the 1943 musical of the same name by Richard Rodgers and Oscar Hammerstein II, which in turn was based on the 1931 play '' Green Grow The Lilacs'' written by Lynn Riggs. It stars Gordon MacRae, Shirley Jones (in her film debut), Rod Steiger, Charlotte Greenwood, Gloria Grahame, Gene Nelson, James Whitmore, and Eddie Albert. The production was the only musical directed by Fred Zinnemann. ''Oklahoma!'' was the first feature film photographed in the Todd-AO 70 mm widescreen process (and was simultaneously filmed in CinemaScope 35mm). Set in Oklahoma Territory, it tells the story of farm girl Laurey Williams (Jones) and her courtship by two rival suitors, cowboy Curly McLain (MacRae) and the sinister and frightening farmhand Jud Fry (Steiger). A secondary romance concerns Laurey's friend, Ado Annie (Grahame), and cowboy Will Parker (Nelson), who also has an unwilling rival. A background theme is the territory's aspiratio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Super Panavision 70
Super Panavision 70 is the marketing brand name used to identify movies photographed with Panavision 70 mm spherical optics between 1959 and 1983. Ultra Panavision 70 was similar to Super Panavision 70, though Ultra Panavision lenses were anamorphic, which allowed for a significantly wider aspect ratio. However, Ultra Panavision 70 was extremely rare and has only been used on a handful of films since its inception. History 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, compared to an anamorphic widescreen image. 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 70 to compete wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Around The World In 80 Days (1956 Film)
''Around the World in 80 Days'' (sometimes spelled as ''Around the World in Eighty Days'') is a 1956 American epic adventure-comedy film starring David Niven, Cantinflas, Robert Newton and Shirley MacLaine, produced by the Michael Todd Company and released by United Artists. The epic picture was directed by Michael Anderson and produced by Mike Todd, with Kevin McClory and William Cameron Menzies as associate producers. The screenplay, based on the classic 1873 novel of the same name by Jules Verne, was written by James Poe, John Farrow, and S.J. Perelman. The music score was composed by Victor Young, and the Todd-AO 70 mm cinematography (shot in Technicolor) was by Lionel Lindon. The film's six-minute-long animated title sequence, shown at the end of the film, was created by award-winning designer Saul Bass. The film won 5 Academy Awards, including Best Picture. Plot Broadcast journalist Edward R. Murrow presents an onscreen prologue, featuring footage from '' A Trip ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Napoléon (1927 Film)
''Napoléon'' is a 1927 French silent epic historical film, produced, and directed by Abel Gance that tells the story of Napoleon's early years. On screen, the title is ''Napoléon vu par Abel Gance'', meaning "Napoleon as seen by Abel Gance". The film is recognised as a masterwork of fluid camera motion, produced in a time when most camera shots were static. Many innovative techniques were used to make the film, including fast cutting, extensive close-ups, a wide variety of hand-held camera shots, location shooting, point of view shots, multiple-camera setups, multiple exposure, superimposition, underwater camera, kaleidoscopic images, film tinting, split screen and mosaic shots, multi-screen projection, and other visual effects. A revival of ''Napoléon'' in the mid-1950s influenced the filmmakers of the French New Wave. The film used the Keller-Dorian cinematography for its color sequences. The film begins in Brienne-le-Château with youthful Napoleon attending military scho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mike Todd
Michael Todd (born Avrom Hirsch Goldbogen; June 22, 1909 – March 22, 1958) was an American theater and film producer, best known for his 1956 production of '' Around the World in 80 Days'', which won an Academy Award for Best Picture. Actress Elizabeth Taylor was his third wife, and Todd was the third husband of Taylor's seven husbands, and is the only one whom Taylor did not divorce - Todd died in a private plane accident a year after their marriage. He was the driving force behind the development of the eponymous Todd-AO widescreen film format. Early life Todd was born in Minneapolis, Minnesota, to Chaim Goldbogen (an Orthodox rabbi), and Sophia Hellerman, both of whom were Polish Jewish immigrants. He was one of nine children in a poor family, the youngest son, and his siblings nicknamed him "Tod" (pronounced "Toat" in German) to mimic his difficulty pronouncing the word "coat." It was from this that his name was derived. The family later moved to Chicago, arriving o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinemascope
CinemaScope is an anamorphic lens series used, from 1953 to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theatres using existing equipment, albeit with a lens adapter. Its creation in 1953 by Spyros P. Skouras, the president of 20th Century Fox, marked the beginning of the modern anamorphic format in both principal 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the technology behind the CinemaScope lens system was made obsolete by later developments, primarily advanced by Panavision, CinemaScope's anamorphic format has continued to this day. In film-industry jargon, the shortened form, 'Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35:1, 2.39:1, 2.40:1, or 2.55:1 presentation or, sometimes, the use of anamorphic lensing or projection in general. Bausch & Lomb won a 1954 Oscar for its development of the CinemaS ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patton (film)
''Patton'' is a 1970 American epic biographical war film about U.S. General George S. Patton during World War II. It stars George C. Scott as Patton and Karl Malden as General Omar Bradley, and was directed by Franklin J. Schaffner from a script by Francis Ford Coppola and Edmund H. North, who based their screenplay on ''Patton: Ordeal and Triumph'' by Ladislas Farago and Bradley's memoir, ''A Soldier's Story''. ''Patton'' won seven Academy Awards, including Best Picture, Best Director and Best Original Screenplay. Scott also won the Academy Award for Best Actor for his portrayal of General Patton, but declined to accept the award. The opening monologue, delivered by Scott as General Patton with an enormous American flag behind him, remains an iconic and often quoted image in film. In 2003, ''Patton'' was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant". The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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