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Motion pictures photographed in Ultra Panavision 70

"On "Battle of the Bulge" I did not have the choice of the system, but one of the things that helped me decide me to make this movie was the chance to show tanks looking like monsters, coming out of the ground and towering over the puny, small "human insects". Then, of course, I had to show how the human beings actually win the battle. That was my concept and I could only achieve it on a system like Ultra Panavision 70".

Ken Annakin, The 70mm Newsletter, July 2001

The Importance of Panavision
By Adriaan Bijl
In the fall of 1953, Panavision started, as a company which supplied theaters with anamorphic projection attachments. By the time this market was saturated, the company had established itself in the field of motion picture equipment by developing and marketing other products like printer and photography lenses, and cameras.
"Tak" Miyagishima, Panavision Passed Away
By Bill Hogan

For more than half a century starting in 1954 Tak was one of the most esteemed design engineers in the motion picture industry.
The MGM PANAVISION Enlarged-film System
Douglas Shearer
To make our system universally adaptable a 65mm negative has been chosen having standard perforations with the incorporation of a mild anamorphic squeeze in the taking lens system.

Panavision and the Resurrecting of Dinosaur Technology
By Tyler Purcell
After seeing the 70mm test footage, there was a rousing applause. The next thing we saw was a DCP version of the material and it really shows how proper film projection truly trumps digital. The blacks were mushy and undefined, the highlights were clearly peaking and the whole image looked flat. All of that beautiful depth seen in the film projection was lost. We sadly realized this format, developed in the 50's, is still better then all the money we've thrown at conventional digital projection.
The Hateful Eight
By Thomas Hauerslev

The Weinstein Company haven't got the logos quite right. It's a 70mm blow-up logo created by Paramount 30+years ago, stacked on top of a vintage 1953 CinemaScope logo by 20th Century Fox with a "Super" added in the middle. The combined "logo" is gibberish and confusing. It does not make any sense, except if "The Hateful Eight" is shot in Super 35, and then blown up to 70mm for limited engagements.
"An Homage To D W Griffith" A short Film In Ultra Panavision 70
By Dan Sherlock
The last Ultra Panavision 70 film that was released was reportedly KHARTOUM in 1966. As it turns out, there was one more Ultra Panavision 70 short subject that was made over 20 years later. In 1988, the equipment and lenses were used for a special short subject that was also the only time the format used a speed of 30 frames per second rather than the normal 24 frames per second format.
Ultra Panavision 70 - almost like a real story
By Rick Mitchell
Due to a financial investment from MGM, the new format was initially known as "MGM Camera 65". Because, one of its design considerations was to yield higher quality 35mm anamorphic prints, directors, cinematographers, and camera operators were instructed to keep important action within the safe action area of 2.35:1 anamorphic 35mm prints with an optical track.
Ultra Panavision 70, Early lenses
By Tak Miyagishima
These earlier lenses were all engraved as having a power of 1.33X but were never used having that power. We started designing these lenses with the power of 1.33X and had to alter the power but didn’t change the engraving.

• Go to Ultra Panavision 70 - Adjustment and modifications

"Khartoum" in Ultra Panavision 70
By Rick Mitchell
A new 70mm print, of one of only nine films shot in this widest of formats, was shown at the American Cinematheque's Egyptian Theater 18. May 2008
Camera 65 and the Metro Bourke Street Bigger than…
By Eric White
The Bourke Street Metro was a two-gallery theatre, like the Collins Street Athenaeum, and as was the case there, the projection rake was quite steep.
65/70mm Rules
By Rick Mitchell
Last night at a special program at UCLA's Bridges Theater devoted to unusual film picture and sound formats, two examples of 65mm origination and 70mm presentation were shown.
Ultra Panavision 70 Lens - Adjustment and lens modifications
Facts about the new "Mad World" 70mm print
To Split or not to Split ... That is the Hollywood Question!

• Go to The Hateful Eight

• Go to Ken Annakin. Director in Ultra Panavision 70

• Go to Motion pictures in Super Panavision 70





Raintree County
Brown, Louisville, USA
MGM Camera 65. Released only in 35mm. Cameras from the 1930s and re-designed by MGM Camera Dept.
Ben Hur
State, NYC, USA
MGM Camera 65
Mutiny on the Bounty
State, New York, USA
It's a Mad, Mad, Mad, Mad World
Cinerama Dome, Los Angeles, USA
Premiered "In Cinerama"
The Fall of the Roman Empire
Astoria, London, England
The Greatest Story Ever Told
Warner, NYC, USA
Premiered "In Cinerama"
The Hallelujah Trail
Warner, LA, USA
Premiered "In Cinerama"
Battle of the Bulge
Cinerama Dome, Los Angeles, USA
Premiered "In Cinerama"
Casino, London, England
Premiered "In Cinerama"
The Hateful Eight
 50 cinemas in the US


How The West Was Won

(Process shots and certain sequences)
Casino, London, England
Parts only, rest in 3-strip Cinerama
An Homage To D. W. Griffith
(Short  film)

Tokyo, Nippon Budokan

Ultra Panavision 70 lenses also used for:

Star Wars Anthology: Rogue One
-Shot digitally. Unconfirmed
Assistant contributors on some large format lists includes Michael Coate, David Coles, Jeffrey L. Johnson, Scott Marshall, Tak Miagishima, Rick Mitchell, Dan Scherlock, Richard Vetter and Ingolf Vonau.

Based on material found in many sources, including trade papers, Variety, Wide Screen Movies (Robert E. Carr & R. Michael Hayes) and Four Aspects of The Film (James L Limbacher)

Online: 02-06-1999. Updated: 27-07-2015