“Almost like a real web
site”
|
IN7OMM.COM
• Search |
Contact
• News |
e-News |
• Rumour Mill |
Stories
• Foreign Language
• in70mm.com auf Deutsch
WHAT'S ON IN 7OMM?
7OMM FESTIVAL
• Todd-AO Festival
• KRRR! 7OMM Seminar
• GIFF 70, Gentofte
• Oslo 7OMM Festival
• Widescreen Weekend
TODD-AO
• Premiere |
Films
• People |
Equipment
• Library |
Cinemas
• Todd-AO Projector
• Distortion Correcting
PANAVISION
• Ultra Panavision
70
• Super Panavision
70
|
|
VISION, SCOPE & RAMA
1926
Natural Vision
1929 Grandeur
1930 Magnifilm
1930 Realife
1930 Vitascope
1952 Cinerama
1953
CinemaScope
1955 Todd-AO
1955 Circle Vision
360
1956
CinemaScope 55
1957 Ultra
Panavision 70
1958 Cinemiracle
1958 Kinopanorama
1959 Super
Panavision 70
1959 Super Technirama 70
1960 Smell-O-Vision
1961 Sovscope
70
1962
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1966
Stereo-70
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema
180
1974 SENSURROUND
1976 Dolby Stereo
1984 Showscan
1984 Swissorama
1986 iWERKS
1989 ARRI 765
1990 CDS
1994 DTS / Datasat
2001
Super Dimension 70
2018 Magellan 65
•
Various Large format
| 70mm to 3-strip |
3-strip to 70mm |
Specialty Large Format |
Special Effects in 65mm |
ARC-120 |
Super Dimension 70
| Early Large Format
• 7OMM Premiere in
Chronological Order
7OMM FILM & CINEMA
• Australia |
Brazil
• Canada |
Denmark
• England |
France
• Germany |
Iran
• Mexico |
Norway
• Sweden |
Turkey
• USA
LIBRARY
• 7OMM Projectors
• People |
Eulogy
• 65mm/70mm Workshop
• The 7OMM Newsletter
• Back issue |
PDF
• Academy of the WSW
7OMM NEWS
• 2026 | 2025 | 2024
• 2023 |
2022 |
2021
• 2020 |
2019 |
2018
• 2017 |
2016 |
2015
• 2014 |
2013 |
2012
• 2011 |
2010 | 2009
• 2008 | 2007 |
2006
• 2005 | 2004 |
2003
• 2002 |
2001 |
2000
• 1999 |
1998 |
1997
• 1996 |
1995 |
1994
|
in70mm.com Mission:
• To record the history of the large format movies and the 70mm cinemas
as remembered by the people who worked with the films. Both during
making and during running the films in projection rooms and as the
audience, looking at the curved screen.
•
in70mm.com, a unique internet based magazine, with articles about 70mm
cinemas, 70mm people, 70mm films, 70mm sound, 70mm film credits, 70mm
history and 70mm technology. Readers and fans of 70mm are always welcome
to contribute.
•
Disclaimer |
Updates
• Support us
• Testimonials
• Table of Content
|
|
|
Extracts and longer
parts of in70mm.com may be reprinted with the written permission from
the editor.
Copyright © 1800 - 2070. All rights reserved.
Visit biografmuseet.dk about Danish cinemas
|
| |
Masking Configuration for 70mm Screens
|
Read more
at
in70mm.com
The 70mm Newsletter
|
Written
by: Ramon
Lamarca Marques,
Brian Guckian
and Mike Taylor |
Date:
17.01.2010 |
Curved
screen with movable side masking (unidentified location).
Courtesy Mike Taylor / PPT Collection
As the 70mm format is physically larger than 35mm, it follows
that corresponding screen size should also be larger. Though
this may seem obvious, there are different ways of achieving
this in practice.
A common technique is to have the 2.21:1 aspect ratio of 70mm
share common width with 35mm 'Scope 2.39:1, and to lift the top
masking for 70mm.
Other cinemas have arranged the layout so that both the side
masking and the top masking open out for 70mm.
A movable top masking only configuration is appropriate for 70mm
where additional available screen width is limited.
The importance of screen masking generally should not be
underestimated or neglected, as it performs an important
technical function in enhancing the contrast of projected
images, in addition to the more commonly cited advantage of
providing a pleasing hard edge / border.
Many cinemas today, whether regular or large format, do not use
screen masking and this is poor practice.
Additionally, in order to maximise the impact of the film
experience, it is paramount that the presentation of the main
feature in 70mm is completely different to any previous
advertisements and/or trailers both in image resolution, sound
quality and screen width and height.
By using the same screen surface for advertisements and the main
feature, or even having the main feature using less screen
surface (the incorrect "common width" screen configuration), the
impact of cinema and its differences to home cinema are
diminished.
Correct screen masking coupled with a good use of
curtain tabs can enhance a film
presentation.
The 65/70mm Workshop has also previously put forward a design
for a multi-format, compound
curved screen that is intended to be correctly masked.
[With thanks to Ben Wales for his assistance]
|
More
in 70mm reading:
65/70mm Workshop
Internet link:
|
SCREEN MASKING FOR 70MM PRESENTATION
By Mike Taylor
|
|
Curved
screen with movable side & to/bottom masking. Imperial Bio, Copenhagen,
Denmark. Image by Thomas Hauerslev.
When Cinerama took the cinema world by storm in 1952 it introduced a new
form of cinema - The Wide Screen. Following on the heels of this
development, film companies came up with other processes so as not to be
outdone in the race to have wide screen for the majority of film goers,
and at the same time to try and slow down the mass medium of television.
Mike Todd - who had been in the forefront of Cinerama and later fell out
with the company - went on to develop his own system where "Everything
Came Out Of One Hole". This was Todd AO - the AO being his partner, the
American Optical Company.
As the 70mm format is physically larger than 35mm, it follows then that
the screen size should also be greater. To the outside observer this is
indeed obvious, and the screen therefore requires masking to achieve the
relevant picture ratio.
|
|
Kinds of Screen Frames
|
|
Curved
Todd-AO screen with movable side & to/bottom masking. 3 Falke Bio
(closed), Copenhagen, Denmark. Image by Thomas Hauerslev.
To accommodate 70mm and the other standard current ratios in 35mm using
the same screen, various types of screen frames have appeared over the
years taking into account the size and shape of the cinemas. Four types
have been in common use:
(1) Flat screen frame - free standing with stabilising rear braces.
(2) Flying screen frame - with extra strength to allow for suspended
cables
(3) Roller screen
(4) Deep Curve screen frame
With the exception of the roller screen, the screen frames included the
masking system as an integral part of the frame. Built within a box-like
structure it carried all the guide rollers and cables linked to the
motor controllers and limits. In most cases, the screen would be curved.
For 70mm, the screen would be at its maximum with both top and side
masking facility. In smaller cinemas where 70mm was included, maybe only
side masking would operate. A fixed picture height being the norm for
all ratios.
Roller Screen
This type of screen for 70mm is the exception, and is usually found in
specialised venues such as museums. A typical example is the
Pictureville Cinema at Bradford, part of the National Media Museum. The
screen only carries a fixed border top and bottom. The side masking
making use of the screen curtains, with a rigid edge and opening to the
70mm ratio.
Deep Curved Screens
These screens are usually found in the major cinemas or specialised
venues, and were the pioneers for such systems as Cinerama and
Cinemiracle with a 146 degree curve. Following the demise of these
systems, the deep curve almost disappeared but came to the fore in 1967
with the introduction of D-150 at the Odeon Marble Arch, London. This
time the curve was reduced to 120 degrees.
The masking system was again an integral part of the screen frame and
allowed for D-150 70mm 35mm (cinemascope and normal) and had both top
and side masking, making this the ultimate presentation system.
|
|
|
|
Go: back
- top - back issues
- news index
Updated
21-01-24 |
|
|