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| | Arriflex's ARRI 765 | Read more at in70mm.com The 70mm Newsletter
| Edited by: Thomas Hauerslev | Date: 16.03.2024 | Short films with the ARRI 765 | Title | Released | Cinema | Notes | | | | | BMW 850i | 1989 | | Short film. German. Commercial | "Jesus Etait Son Nom" / "Jesus Was His Name" | 1991 | Palais des Sports, Paris, France | Backgrounds for a large stage show. 30 frames per second
"Jesus Etait Son Nom" was a multimedia version of the Christ story that uses film shown on a 58-foot-wide screen, opera scenery and a sound track with three narrators, music and sound effects. The spectacle was conceived by Robert Hossein, a French producer.
Jesus Was His Name opened in 1991 and drew 600,000 during a 152-performance run at the Palais des Sports in Paris. After embarking on a 31-city tour of the United States, the play was sailing right along until it hit New York for an 11-day stand at Radio City Music Hall in early June [1992]. | "The Theatre of Noah"
Three films in SHOWSCAN: • "The Legion of Noah" • "Noah and the Burning Forest" • "Noah and the Killers of the Serengetti" | 1992 | Huis Ten Bosch Village, Nagasaki, Japan | Three short films. Showscan 60 frames per second. From ARRI News:
BOSS Film director/cameraman Niel Krepela on photographing "The Theatre of Noah" in the Showscan process.
We shot in 65mm, of course, at 60 frames-per-second. We used the Arriflex 765 for most of our work in the United States, and shot more footage with it than any other camera on the job. We found it easily the quietest 65mm camera at 60 fps of them all. We even shot sync sound with it at that speed!
From the production side, one of its most valuable abilities was that it ran so long and so consistently at 60fps. We've used 65mm cameras for years, and at speeds up to 120 fps. but 60 fps from a production camera was incredible. We shot 10.000 feet a day on cranes and odd mounts, and we had NO down time with it. It was rock-steady.
Shooting in 65mm has been impractical - the cameras were antiques. We've never had state-of-the art 65mm until ARRI's 765. Production in 65mm is now as easy as in 35mm. | Tour Eiffel | 1994 | | Short film. German | Pic du Midi | 1996 | | Short film. French, produced for Futuroscope, Poitiers | The Witness | 1999 | CT, USA | Short film. USA. Some parts filmed in Super Panavision 70 | 100% | 1999 | | Short film. USA | Testaments | 2000 | Salt Lake City, USA | Short film. USA. Some parts filmed in Super Panavision 70 | “As Good as it Gets” | 2006 | 7. November 2006, James Bridges Theatre, Los Angeles, USA | Short film. German/USA. 70mm demonstration film | Elements, part 1: The Air Over Bernina | 2008 | | Short film. German | Several short demonstration films for Venice Film Festival | 2008 | | Short film. Italy | Mr. Burberry | 2016 | | Short film. UK
• Youtube: Mr. Burberry • Youtube: The Art of Film • ARRI Crew: 65mm Sean Bobbitt, Tomboy Films | Bianca | 2018 | | Short film. USA
feverdreamproductions.com:
Bianca is a damsel distressed, having just sabotaged the only real relationship she has ever had. Spinning drunk narratives of lovers past from the safety of her bathtub, she desperately tries to evade her own paranoia, self-loathing, and fears. It is a dating nightmare, a love story, and a coming of age tale, reaching its culmination when her fancy delusions finally collide with reality.
Photography: Lowell A. Meyer Director: Zach Lasry | "CUT" | 2023 | | In production, see: A Unique Analogue Workshop Event | "Nothing Ventured" | 2023 | | In production, see: Help Needed to Finish the Ultimate Analog Short Film | | | | |
| Nore in 70mm reading:
Interview With Otto Blaschek - The Making of ARRI 765
A Visit to ARRI in München
Arriflex's ARRI 765
"CUT" with ARRI 765. A Unique Analogue Workshop Event
On Location in Paris with ARRI 765
Making of BMW 850i
"As Good as it Gets"
A film on historic scaling of Nanga Parbat
"Sunset Song" Filming in 65mm
Large Format 7OMM Engagements
Chronological premiere list of all 70mm films
| Feature films with the ARRI 765 | Title | Released | Cinema | Notes | “Far and Away” | 22.05.1992 | Ziegfeld, NYC, USA
70mm Engagements | The ARRI 765 was used for short segments
"I also used Arri's new ARRI765 camera which could go up to 120 frames per second."
Best wishes with "Far and Away", Mikael Salomon | "Little Buddha" | 01.12.1993 | France | The ARRI 765 was used for short segments | "Hamlet" | 22.12.1996 | Ziegfeld, NYC, USA
70mm Engagements | The ARRI 765 was used for short segments | "Sunshine" | 23.03.2007 | Bochum Fantasy Filmfest Nights, Germany | Arri 765 for one scene:
From American Cinematographer, August 2007:
The filmmakers used 65mm to achieve one particularly surreal effect. In the scene, volatile crewmember Mace (Chris Evans) is trying to chill out in the “Earth Room,” a virtual-reality environment designed to simulate earthly environments that relax the spectator. “We wanted to give the Earth Room a surreal feel, so we decided to shoot the plates and Chris on 65mm,” says Küchler.
Photography: Alwin H. Küchler Director: Danny Boyle | "The International" | 12.02.2009 | Germany | Less than 5 minutes in the final film was photographed with ARRI 765 | "Nanga Parbat" | 14.01.2010 | Germany | | "Shutter Island" | 19.02.2010 | USA | Short sequences filmed in Panavision PFX System 65 & Arri 765
From American Cinematographer:
In prep, the filmmakers tested various methods of further enhancing the hyper-real look of Teddy’s visions; 65mm, anamorphic 35mm and high-definition video were all considered as mates for the project’s main format, Super 35mm. “The goal was to capture as much detail as possible for the DI suite,” says Richardson. “There weren’t as many differences among the filmouts as you might expect — the DI was the great equalizer — but 65mm had a definitive edge. We could wrestle with it in the digital world without the normal side effects encountered with a smaller negative. After he saw the tests, Marty agreed to shoot Teddy’s dream states on 65mm.” Unfortunately, after filming one day with a Panavision PFX System 65 Studio and an Arri 765, both cameras broke down on a frigid night. “Only a few of those shots remain,” says Richardson. (Ed. Note: These can be seen in a dream sequence that shows Teddy in Dachau in civilian clothes.) | "Unknown" | 18.02.2011 | USA | Arri 765 for some scenes, most of the film is Super 35 | "Gravity" | 28.08.2013 | Venice Film Festival, Italy | The final scene was photographed with ARRI 765
From ICG Magazine:
“We are back down on Earth at the end, so to give that a different dimension and gravity, we shot it in 65 millimeter, which has its own kind of hyper-reality. You can almost breathe the wind as you watch that scene.”
From American Cinematographer:
Lubezki shot most of the live-action material in the film with Arri Alexa Classics and wide Arri Master Prime lenses, recording in the ArriRaw format to Codex recorders; the package was supplied by Arri Media in London. (Panavision London provided a Primo Close Focus lens that was used for a single shot.) He filmed a scene set on Earth on 65mm, using an Arri 765 and Kodak Vision3 500T 5219, to provide a visual contrast to the rest of the picture. | "Autumn Blood" | 14.09.2013 | Oldenburg International Filmfest, Germany | We shot 20% of the movie on 65mm Kodak negative. Love the 765 camera an the way it feels when looking through the viewfinder. Hopefully I get to do this again. Thanks for keeping 70mm alive and remembered.
Greetings, Markus
Photography: Reed Morano Director: Markus Blunder | "Sunset Song" | 04.12.2015 | England | Exteriors in ARRI 765 | "The Hateful Eight" | 07.12.2015 | 7OMM Roadshow Engagements | The ARRI 765 was used for short segments | "The Death and Life of John F. Donovan"
| 10.09.2018 | Toronto International Film Festival | The ARRI 765 was used for short segments
From collider.com 11. May 2017:
Without giving away any surprises, Dolan’s storytelling approach with John F. Donovan appears to be very emotionally earnest via some scenes that look and feel much bigger in scope than anything he’s done before. He’s even shooting on 65mm, which the director said, “changed my life”.
Photography: André Turpin Director: Xavier Dolan | “Matthias and Maxime” | 22.05.2019 | Cannes Film Festival, France | Arri 765 for one scene:
"We also used the 65mm format for a climactic love scene to have it emerge from the rest of the film. Very satisfying of course."
DoP: André Turpin Director: Xavier Dolan | "Tenet" | 26.08.2020 | The premiere cinemas | The ARRI 765 was used running backwards for short segments
"The big screen is best for movies" | "No Time to Die" | 30.09.2021 | London, UK | From American Cinematographer, April 2020:
When the System 65 units were unavailable toward the end of production, the filmmakers turned to the 65mm ARRI 765 — which was more often used by the production’s 2nd unit for dialogue within Imax sequences. | "AL’s Brand" | - | - | 2020, Zanzibar Films
Photography: Halyna Hutchins Director: Dennis Hauck | "Poor Things" | 22.12.2023 | USA | Some scenes were shot with ARRIFLEX 765 | | | | |
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