“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


Immersive Cinema Technologies, Will it Continue?

This article first appeared on
The 70mm Newsletter
Written by: Mark Andrew Job, ICT Productions Montreal, Canada March 2002
How about it? - your own 65mm camera.Mr. Mark Job's own 65mm Panavision camera.

I suppose many of your readers might remember my activities from articles published in WideGauge Magazine? Since then I have been hard at work in the development of a true and full, "Cinerama where everything comes out of one whole." 

I have come close to completing final testing when my investor suddenly dropped the project!

Unfortunately for me, the company who was ready to invest in my concept, Taurus Seven Films of Montreal, had a major deal of its own collapse which had to be completed first in order for my project to be green lighted. Taurus had a rather ambitious project of its own which consisted of expanding their own facilities and building the largest shooting sound stages in the world along with their own film lab. This new film lab would have included the capability to process 65 mm negative and make 70mm prints.

Due to forces beyond my control, Taurus's deal depended on a successful bid to purchase federally owned Government of Canada Crown Land to build their new studios on. Some readers may remember how the Montreal Expos Baseball Team had made a bid to build a new stadium on land owned by the Government of Canada, but was unsuccessful in their attempts to raise enough cash to successfully do so ? Now Major League Baseball in the US will compact two teams next year, one of them is highly touted to be The Montreal Expos. The land in question was the same land which was later bid on by Taurus Films who also failed in their attempt to obtain this same prime downtown Montreal real estate.

There were many very good reasons to locate such a modern, state of the art mega studio in Montreal. One reason was that Technicolor chose the Greater Montreal Area to build their new Laboratories. If Technicolor leaves Hollywood to build in Montreal, Canada, then one would consider support for large format capabilities from their new facilities at Mirabell, Quebec (Small town just north west of Montreal) to be a definite possibility as well. Technicolor does have equipment to make 70mm prints already in its possession and has a history in dealing with 65 mm film. The Canadian Dollar is so low in comparison to the US Dollar that the savings gained in operational costs are considerable.

Perhaps the most basic reason for my project to no longer be attractive to investors is the simple fact it is based on traditional film technology. 65mm film, although without question far superior in image quality to any other currently extant format is not the direction the industry is moving in today. Digital Cinema is a by far a more cost effective, enabling technology. Perhaps the one word which best describes what the future holds for the users of digital cinema is the, "accessibility," this new technology affords to the individual ! The impact of this technology on the overall commercial film industry is immeasurable, but definitely it will be significant to say the least.

Since Technicolor is developing new digital cinema projection technology, the advantages of digital production can be listed in the following terms:
More in 70mm reading:

70mm, Cinerama, IMAX and Cinemas in Canda

65mm 5 Perf Shooting and Immersive Cinema Technologies Today

Panavison Large Format Motion Picture Systems


1. Rapid & Cost Effective International Feature Film Distribution

With Digital Cinema Distribution an entire movie can be delivered to the venue via 4.7 Gigabyte DVD Rom Specification 2.0 (Using Special High Definition MPEG Codecs) or via high speed internet access, thus the need (And most importantly, the cost) of producing and shipping around the world expensive motion picture film prints is circumvented.

2. Rapid & Cost Effective Feature Film Production

Digital CamCorders can be made extremely small and lightweight, thus illuminating the need for time consuming, expensive extra camera rigging and support. Time is money and a 500 line digi-camcorder can be purchased for the cost of renting a 35 mm film camera shooting package in the US for one day ! Check out the web site and see the new camera folks are making feature films with now ! Consider this well since the studio bean counters certainly are ! There are no 'dailies' to wait for in digital cinema ? You can check what you have picture and sound wise before even taking down the set for the day! Although it certainly is important to point out that 500 lines is far from enough image resolution to even come close to 35mm film, let alone 65mm, there soon will be digital cameras which do have enough image resolution to do so.

In conclusion I have decided to sell of my Panavision 65mm camera and apply my cinema type immersive cinema lens concepts to a digital camera instead of a large format film based one. Although there certainly are image quality issues to be worked out with digital cinema, the pace of digital imaging technology remains very fast and it is improving each year. How long will it be before we reach 35mm quality with a digital Camera ? How long will it be before a digital camera and projector will reach the quality of 5 perf 65 mm film and eventually 15 perf 65mm IMAX image quality ? Perhaps it won't take as long as we think it will?

I'm a big believer in 5 perf 70mm film making. I have NEVER seen image quality, like that of what Todd AO, Super and Ultra Panavision and Imax can deliver, but I just can't get investors interested in forking out any seed money for film based technologies these days. Let's see if a Cinerama where everything comes out of one whole can be developed with digital technology instead?
Go: back - top - back issues
Updated 21-01-24