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Super Panavision 70

January 01, 1970

Super Panavision 70 is the marketing brand name used to identify movies photographed with Panavision 70 mm spherical optics between 1959 and 1983. It has since been replaced by Panavision System 65.

Super Panavision 70
TypeFilmmaking technology
InventorMike Todd
Robert Gottschalk
Inception1959 (1959)
ManufacturerPanavision
Models madeSystem 65 (since 1985)

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 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, 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 with these two systems. Unlike its counterpart Ultra Panavision 70, which used anamorphic lenses, Super Panavision used spherical lenses to create a final aspect ratio of 2.20:1, the same as Todd-AO.

Some of the films made in Super Panavision 70 were presented in 70 mm Cinerama in select theaters. 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 process.

Unlike formats such as Super 16mm and Super 35mm, the "super" designation does not denote a modification of the film frame, but was rather to distinguish it as being of superior quality to 35mm anamorphic Panavision. The terms "Super Panavision 70", "Panavision 70" and "Super Panavision" were interchangeable, whereas the term "70mm Panavision" referred to films shot in 35mm anamorphic Panavision and blown up to 70mm for release.

Movies using Super Panavision 70 edit

Panavision System 65/Super 70 edit

In 1991, as a response to an increased demand for 65 mm cameras (in the mid-1980s Steven Spielberg had wanted to film Empire of the Sun in Super Panavision 70 but did not want to work with the old 65 mm camera equipment),[1] Panavision introduced an updated line of 65 mm cameras and optics known as Panavision System 65 and monikered in advertising and release prints as Panavision Super 70. The system was designed to compete with the parallel development of the Arriflex 765 camera. The new System 65 camera was self-blimped, with reflex viewing designed as the 65 mm cousin to the 35 mm Panaflex camera (and used many of the same accessories). Only two System 65 cameras were ever built, and the small fleet of old 65 mm handheld 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 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 System 65/Super 70 feature Far and Away, combined with the fact that 35 mm digital surround 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 production never materialized. In the 2010s, this renaissance finally materialized following a string of successful films from director Christopher Nolan, which were produced and screened in 70mm IMAX. Following the effort made by Quentin Tarantino and Boston Light & Sound to restore a large fleet of 70mm projectors for the release of The Hateful Eight, 70mm projection once again became available to non-IMAX venues.

Movies using Panavision System 65/Super 70 edit

See also edit

References edit

  1. ^ a b c Everett, Todd (May 21, 1992). "Panavision redefines the wide-body look". Daily Variety. p. 17.
  2. ^ "The Master: Framed in 65mm for Maximum Visual Impact". Eastman Kodak. www.kodak.com. September 26, 2012. Retrieved September 30, 2012.
  3. ^ Hemphill, Jim. "Emmanuel Lubezki, ASC, AMC continues his collaboration with director Terrence Malick on the abstract, poetic love story To the Wonder". theasc.com. The American Society of Cinematographers. Retrieved 17 July 2022.
  4. ^ Altman, Randi (26 February 2015). "The color of Terrence Malick's 'Knight of Cups'". postPerspective. Retrieved 17 July 2022. Both of the films were shot on 35mm, some 65mm, Arri, GoPro, and a little bit with Red and Blackmagic. GoPro, obviously, has a slightly different look, but it cuts in really well with 35mm, 4K and 65mm.
  5. ^ 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.
  6. ^ Dillon, Mark (April 2020). "Rehired Gun". American Cinematographer. 101 (4). Hollywood, California, United States: American Society of Cinematographers: 36. ISSN 0002-7928.

External links edit

  • American Widescreen Museum section on Super Panavision 70

January 01, 1970
super, panavision, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, 2014, le. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Super Panavision 70 news newspapers books scholar JSTOR May 2014 Learn how and when to remove this message Super Panavision 70 is the marketing brand name used to identify movies photographed with Panavision 70 mm spherical optics between 1959 and 1983 It has since been replaced by Panavision System 65 Super Panavision 70TypeFilmmaking technologyInventorMike ToddRobert GottschalkInception1959 1959 ManufacturerPanavisionModels madeSystem 65 since 1985 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 Contents 1 History 2 Movies using Super Panavision 70 3 Panavision System 65 Super 70 4 Movies using Panavision System 65 Super 70 5 See also 6 References 7 External linksHistory editDuring 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 with these two systems Unlike its counterpart Ultra Panavision 70 which used anamorphic lenses Super Panavision used spherical lenses to create a final aspect ratio of 2 20 1 the same as Todd AO Some of the films made in Super Panavision 70 were presented in 70 mm Cinerama in select theaters 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 process Unlike formats such as Super 16mm and Super 35mm the super designation does not denote a modification of the film frame but was rather to distinguish it as being of superior quality to 35mm anamorphic Panavision The terms Super Panavision 70 Panavision 70 and Super Panavision were interchangeable whereas the term 70mm Panavision referred to films shot in 35mm anamorphic Panavision and blown up to 70mm for release Movies using Super Panavision 70 editThe Big Fisherman 1959 Exodus 1960 West Side Story 1961 Lawrence of Arabia 1962 My Fair Lady 1964 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 1969 Krakatoa East of Java 1969 selected scenes in Todd AO presented in 70 mm Cinerama Song of Norway 1970 advertised as on the Cinerama screen in some countries Ryan s Daughter 1970 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 70 Tron 1982 Real world live action filmed in color 65 mm Computer world live action filmed in 65 mm B amp W composited to a 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 The Abyss 1989 special effects shots only 1 Warriors of the Wasteland 1989 short film Apollo 11 2019 Panavision System 65 Super 70 editIn 1991 as a response to an increased demand for 65 mm cameras in the mid 1980s Steven Spielberg had wanted to film Empire of the Sun in Super Panavision 70 but did not want to work with the old 65 mm camera equipment 1 Panavision introduced an updated line of 65 mm cameras and optics known as Panavision System 65 and monikered in advertising and release prints as Panavision Super 70 The system was designed to compete with the parallel development of the Arriflex 765 camera The new System 65 camera was self blimped with reflex viewing designed as the 65 mm cousin to the 35 mm Panaflex camera and used many of the same accessories Only two System 65 cameras were ever built and the small fleet of old 65 mm handheld 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 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 System 65 Super 70 feature Far and Away combined with the fact that 35 mm digital surround 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 production never materialized In the 2010s this renaissance finally materialized following a string of successful films from director Christopher Nolan which were produced and screened in 70mm IMAX Following the effort made by Quentin Tarantino and Boston Light amp Sound to restore a large fleet of 70mm projectors for the release of The Hateful Eight 70mm projection once again became available to non IMAX venues Movies using Panavision System 65 Super 70 editFar and Away 1992 During the land rush sequence slow motion footage was filmed with Arri 765 cameras plus a 35mm VistaVision camera and several 35 mm Panavision cameras with anamorphic lenses were used 1 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 2004 selected special effects shots only The New World 2005 hyper reality scenes only 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 35mm anamorphic prints Snow White amp the Huntsman 2012 selected wide shots and second unit work 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 System 65 the rest was shot in spherical 35 mm with a 1 85 1 aspect ratio 2 To the Wonder 2012 some scenes 3 Jurassic World 2015 some scenes Knight of Cups 2015 some scenes 4 Batman v Superman Dawn of Justice 2016 some scenes Dunkirk 2017 5 scenes that were not shot on 65mm IMAX film about 25 of the film Murder on the Orient Express 2017 Christopher Robin 2018 some scenes The Nutcracker and the Four Realms 2018 scenes that were not shot on Super 35 3 perf Tenet 2020 scenes that were not shot on 65mm IMAX film some scenes were filmed with Arri 765 cameras about 74 minutes of the film Wonder Woman 1984 2020 some scenes No Time to Die 2021 6 some action scenes Death on the Nile 2022 Jurassic World Dominion 2022 some scenes Nope 2022 scenes that were not shot on 65mm IMAX film Oppenheimer 2023 scenes that were not shot on 65mm IMAX film See also edit70 mm film Cinerama Super Technirama 70 Todd AO Ultra Panavision 70References edit a b c Everett Todd May 21 1992 Panavision redefines the wide body look Daily Variety p 17 The Master Framed in 65mm for Maximum Visual Impact Eastman Kodak www kodak com September 26 2012 Retrieved September 30 2012 Hemphill Jim Emmanuel Lubezki ASC AMC continues his collaboration with director Terrence Malick on the abstract poetic love story To the Wonder theasc com The American Society of Cinematographers Retrieved 17 July 2022 Altman Randi 26 February 2015 The color of Terrence Malick s Knight of Cups postPerspective Retrieved 17 July 2022 Both of the films were shot on 35mm some 65mm Arri GoPro and a little bit with Red and Blackmagic GoPro obviously has a slightly different look but it cuts in really well with 35mm 4K and 65mm 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 Dillon Mark April 2020 Rehired Gun American Cinematographer 101 4 Hollywood California United States American Society of Cinematographers 36 ISSN 0002 7928 External links editAmerican Widescreen Museum section on Super Panavision 70 Retrieved from https en wikipedia org w index php title Super Panavision 70 amp oldid 1197364331, wikipedia, wiki, book, books, library,

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