Photographed on 65mm Film
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Written by: 65mm/70mm short stories picked up from the internet
"Isle of the Dead" is now shooting in 65mm in Norway
Hans Kr. Bukholm and Anette Thorsheim shooting in 65mm in
June 2016. Photo:
Art film in development. To be filmed for the big screen in the 65/70mm format.
A visualization of human history and fight for survival throughout the ages. In
June 2017 Vestnorsk Filmsenter granted BFD NOK 300,000 in production funding for
the short film «Isle Of The Dead» – a visualization of human history and fight
for survival throughout the ages. Compromising dancers set against a backdrop of
a brutal coastal landscape and wide, stormy seas, set to music by Sergei Rachmaninov. Production will commence pending completion of financing.
The Dead» will be BFD’s
Arctic Seasons"] in the 65/70mm format.
Emil Stang Lund, production consultant,
Carl E. Johannesen, production- and editing consultant.
Anna Öberg, choreographer.
Helge Sunde, photographer / advisor.
Ragnar Bjerkreim, composer / music consultant.
Jan Erik Paulsrud, editing consultant.
Steinar Vatne / Signar Kristoffersen, technical advisor camera equipment
Eirik Vie, language consultant.
Hans Elias Bukholm Josephsen, digital consultant
May 2020 update:
So far we have done well over 20 minutes of filming on 65mm negative.
Filming until Christmas 2019 took place over a total of 13 days on location.
Set up of rails, crane etc. takes time and the light only allows approx. two
hours of work per. shooting day at our rather difficult and inaccessible
location. Six days we even returned without having shot anything due to bad
weather and wrong light. It was cloudy with rain throughout January, but we
still hope to finish photography this spring. The exposed 65mm negative will
be sent to FotoKem for development. The staff now consists of seven students
at the media line at the University of Bergen, who are very enthusiastic
about the opportunity to work on a 70mm production. Best regards from Hans
Kr. B. - Bergen Film Development
|More in 70mm reading:
Christopher Nolan to Direct the
Action Epic Espionage Thriller “Tenet” in 65mm
Bond 25 with working title
"Eclipse" to be filmed in 65mm
65mm Horror Short "Daughter of Dismay"
The 70mm Rumour Mill
list of major 70mm films
Film Revival Gets Boost with New
Large Format 65mm Processing Facilities in the UK
Kodak is making investments in
introducing 65mm film processing in Europe
Film Revival Gets Boost with New Large
Format 65mm Processing Facilities in the UK
50 years in the making
in the V.I.P. viewing stands at Kennedy Space Center. Picture: Statement
Pictures for CNN Films/Neon.
A new cinematic space event film promises to show audiences the historic Apollo
11 first moon landing mission like they have never seen before. "Apollo 11", from director Todd Douglas Miller, will feature never-before-seen
large format film footage of the 1969 mission that landed astronauts Neil
Armstrong and Buzz Aldrin on the surface of the moon. The feature-length
documentary is executive produced by CNN Films and produced by Miller's
Apollo 11, the mission, will mark its 50th anniversary from July 16 through July
24, 2019. The film, "Apollo 11," bills itself as "50 years in the making."
APOLLO 11 by
Douglas Miller will
premiere at Sundance
Film Festival, 24. January 2019. "A
trip to another
70mm footage and
audio from the
• Go to
• Go to
“Apollo 11: First
"Who Cares" in Ultra Panavision 70
grab from "Who Cares (Behind the scenes)".
Sir Paul McCartney and Oscar-winning actress Emma Stone stars in a new
musical short film, shot on 65mm film with Linus Sandgren behind the
Panavision 65mm camera and lenses. "Who Cares" was directed by
Brantley Gutierrez and Ryan Heffington. Director of photography was Linus
Sandgren. The film was produced by Kyle Schember and Michael Abbott for
"My hope is that if there are kids
being bullied—and there are… Maybe by listening to this song and
watching this video, they might just think it’s not as bad… that it’s
the kind of thing you can just stand up to and laugh off and get
'Who Cares', the newest single from Paul
McCartney’s #1 charting Egypt Station (Capitol Records), has been reimagined
as a musical short film starring Paul and Emma Stone. Shot on 65mm Kodak
Film with Panavision Cameras, "Who Cares" features a message of
universal positivity rendered in vivid colorful detail.
Cares" on youtube +
Juli Jakab as Irisz Leiter. Photo credits: Laokoon Filmgroup
1913, Budapest, in the heart of Europe. The young Irisz Leiter arrives in the
Hungarian capital with high hopes to work as a milliner at the legendary hat
store that belonged to her late parents. She is nonetheless sent away by the new
owner, Oszkár Brill. While preparations are under way at the Leiter hat store,
to host guests of uttermost importance, a man abruptly comes to Irisz, looking
for a certain Kálmán Leiter. Refusing to leave the city, the young woman follows
Kálmán’s tracks, her only link to a lost past. Her quest brings her through the
dark streets of Budapest, where only the Leiter hat store shines, into the
turmoil of a civilization on the eve of its downfall.
Captured on Kodak 35mm and 65mm film, Sunset (Napszállta), by Hungarian
director László Nemes and shot by his longtime cinematographic collaborator
Mátyás Erdély HSC, paints a picture of mystery and anxious foreboding as the
shadow of WWI fell over Budapest and the declining Austro-Hungarian empire. Such
is their passion for film, Nemes and Erdély shot the wartime, trench-set
epilogue scenes in Sunset using Kodak 65mm film. While the mainstay of Sunset was shot on 35mm, Erdély was eager to frame the movie’s disturbing footnote, set in the wartime
trenches, with a distinct visual difference.
“The more we discussed this sequence – which could be the true or imagined
experience of Irisz – the more we liked the idea of a hyper-real look,” he says.
“So we decided to film that sequence on 65mm film, with a long dolly shot
through the terrible of filth and dirt of the war-torn ditches. The result of
using 65mm is extraordinary, with extreme realism in the detail. I’d love to
shoot a whole film on 65mm, that’s my goal.”
"The Death and Life of John F. Donovan"
Chastain on a teaser poster from "The Death and Life of John F. Donovan".
Unfortunately, she has been cut from the film.
"The Death and Life of John F. Donovan" set in London,
England by French-Canadian director Xavier Dolan, is filmed in parts in 65mm
with Panavision's System 65. No release date yet, but likely to debut at a film
festival this fall. The synops goes like this: A decade after the death of an
American TV star, a young actor reminisces the written correspondence he once
shared with the former, as well as the impact those letters had on both their
lives. 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”. Dolan
has played with various film stocks before, shooting in 1:1 ratio for Mommy
and with IMAX cameras for Adele‘s “Hello” music video.
“Before I started on the production, I knew in the back of my mind that film was
the only way to show off the natural beauty of the enchanted forest,” says DP
Matthias Königswieser about his decision to mix celluloid into the
cinematographic recipe for Disney’s live-action production of Christopher Robin.
“I knew by capturing nature on film, especially 65mm film, that it would have a
tremendous impact on the audience. It would also be the ultimate homage to the
stories and beautiful drawings from the original ‘Winnie-the-Pooh’ book.”
For the dramatic entry into the Hundred Acre Wood and iconic Pooh Sticks Bridge
scenes, the cinematographer selected a Panavision System 65 camera, fitted with
a combination of Ultra Panavision lenses and spherical glass. "The 65mm footage we shot for Christopher Robin is undeniably the most beautiful
thing I have ever seen,” declares Königswieser.
"A Funeral for Lightning"
Prosofsky, my cinematographer, pushed to augment the 35mm with 65mm. He
bought a used Super Panavision 70 [Article says: IMAX] camera that was at a
massive discount from its original price, and bought 65mm short ends that
were resold through Reel Good film, a dealer in the recan trade, purchased
off "Interstellar". It was the first time that we had a film screen
in a cinema, so we were so excited to see how the 65mm would hold up on the
big screen, and it was mesmerizing. It is so surreal to have a camera in
your possession that shot "2001: A Space Odyssey" and "Lawrence of
Arabia". I think we both find it fascinating that with celluloid, you
can lean into generations of film history. To use the same lenses,
techniques, and even camera bodies fills your shooting day with meaning.
Emily Kai Bock, director
“Star Wars: Episode 9”
Today Kodak announced that in their processing facility in the U.K., they’ve
added the capabilities to handle 65mm, and one of the projects listed to use
Kodak 65mm stock is “Star Wars: Episode 9.” John Schwartzman will be reteaming
with director Colin Trevorrow following “Jurassic World” (the press release
mistakenly lists J.J. Abrams as the director of the film) to lens the project,
and for both it’ll be a return to 65mm, which they partially used on the
dinosaur blockbuster, though it sounds like ‘Episode 9’ will fully utilize the
“Matthias and Maxime”
Arri 765 for one sequence:
"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
Captured on Kodak 35mm, 65mm and Super 8mm filmstocks, "Matthias et
Maxime", writer-director-editor Xavier Dolan’s engaging drama about a
group of friends in their late 20s, makes its world premiere In-Competition
at the 2019 Cannes Film Festival. While Super8mm 500T was used to shoot the
crucial sub-story around the student film and the significant on-screen
kiss, Turpin says using large format 65mm film brought an altogether
different dimension to the storytelling for the movie’s climax.
“Xavier and I were fortunate to have been able to use 15-perf IMAX film
on Adele’s "Hello" music video, and 5-perf 65mm on "The Death and
Life of John F. Donovan" (2018). At those larger emulsion sizes the
visual intimacy is amazing. So we decided to shoot the climactic love scene
at the end of the movie on 65mm, using 500T as it was set at night. It is
such a great example of what 65mm can do, especially without any fancy
lighting setups, just shooting in natural light. The results looked great –
so painterly, profound and emotional.”
He concludes: "I think people will particularly see that on the 35mm
prints of Matthias et Maxime. As for large format 65mm film, Xavier and I
are dreaming of using it on a full-length feature at some point.”
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