“Almost like a real web site”

Search | Contact
News | e-News |
Rumour Mill | Stories
Foreign Language
in70mm.com auf Deutsch


Todd-AO Festival
KRRR! 7OMM Seminar
GIFF 70, Gentofte
Oslo 7OMM Festival
Widescreen Weekend

Premiere | Films
People | Equipment
Library | Cinemas
Todd-AO Projector
Distortion Correcting

Ultra Panavision 70
Super Panavision 70

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
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
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 70Early Large Format
7OMM Premiere in Chronological Order


Australia | Brazil
Canada | Denmark
England | France
Germany | Iran
Mexico | Norway
Sweden | Turkey

7OMM Projectors
People | Eulogy
65mm/70mm Workshop
The 7OMM Newsletter
Back issue | PDF
Academy of the WSW

• 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
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


Misconceptions about the Bradford setup

The 70mm Newsletter
Written by: Bill Lawrence, Head of Cinema, National Museum of Photography, Film and Television, Bradford, England. Pictures by: Thomas Hauerslev Issue 50 - September 1997
Audience watching the first 3-strip performance of "Windjammer" in 20+ years. Picture by Thomas Hauerslev

As usual we eagerly opened the latest issue of The 70mm Association Newsletter and certainly enjoyed the many articles. However, we feel it necessary to correct on/two errors and misconceptions about the Bradford setup.

First of all, in the article about “Windjammer” David Page refers to the “center projector isn’t set for 3-strip”. In fact, the center projector is an original Cinerama projector and is only used for three strip presentations.

Sadly, I also feel that David’s feelings about the Widescreen Weekend at the Bradford Film Festival are particularly personal and selective. While it is true that there were problems, most out of our control, by far the majority of the weekend was successful, with 70mm/Cinerama screenings of “It’s a Mad, Mad, Mad, Mad World”, “Those Magnificent Men…” (Unscheduled), “This is Cinerama”, “Windjammer”, “Vertigo” and “The Big Blue”.
More in 70mm reading:

Widescreen Weekend 1997

Gallery: 1997
WSW Home
Through the Years
The Best of WSW

Academy of the WSW

Creating the WSW
Planning the WSW
Projecting the WSW
Projecting CINERAMA

Is Windjammer the Queen of Kitsch?

Internet link:


Showing 3-strip is not routine even for the skilled projectionists in Pictureville. Problems are always fixed quickly.

We had problems with “My Fair Lady”, because two parts were lost at the print store in London (and still have not been found), “Lawrence of Arabia” was late arriving because the distributor misplaced the print in America, and “How The West Was Won” was shown at David’s insistence despite my feelings that the soundtrack was too worn to complete a full screening in one go – which it barely did. However, the major problem with “HTWWW” was that we had to try and carry out a major re-edit on with a different soundtrack to 1996, as well as inserting the English titles. This is a lengthy time-consuming project at the best of times, in the heat of a film festival it is almost impossible. We did not have sufficient time to allow for a rehearsal and checking.
The infamous Kinopanorama footage.

Meanwhile, John Steven Lasher's Kinopanorama 2 minute film did not work, because it wasn’t ready to be shown – it didn’t have its soundtrack. We had to lash together old technology with new digital sound to make it work – it was not our choice, it would have been easier not to try.

Finally, around the issue of the cut from Lowell Thomas´ introduction to “This is Cinerama” to the roller coaster sequence, the issue is not “something that Bradford has yet to comprehend” but rather a product of both Museum aesthetics and technology.

When we set up Cinerama in Bradford we decided to go for as close to the original form as it is to get with current finance and technology. Consequently, we chose to use a louvered screen rather than a modern screen. Further, the prologue was originally produced on standard 35mm 4 sprocket film, whereas Cinerama was produced on 35mm 6 sprocket. So in the original screening the prologue was run by a separate projectionist from a 35mm booth. In later prints, the prologue was combined with the 3-strip Cinerama print as in Dayton. As a result, technically when Lowell Thomas says This is Cinerama the audience has already been watching it for 20 minutes only the two outer panels are blank.
When the film is shown in Bradford we do not run Cinerama until after the prologue. With this change of projector it takes some seconds to effect the changeover and the curtains to open. However, it is instantaneous from the projectionists viewpoint. Even so, I would argue that while the prologue on the Dayton print is not Cinerama because the curtains are closed, I would suggest that it is not Cinerama until the curtains are fully open.

Ultimately, it is subjective. I and my colleagues prefer the full image from the off. Others prefer the confusion between image and the curtains opening. There is no definitive ruling.

I hope that this clarifies the points.
Go: back - top - back issues - news index
Updated 21-01-24