“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

Super Technirama 70
MCS 70 | DEFA 70
Dimension 150
Sovscope 70
ARRI 765 | Blow-up
35mm to 70mm
Blow-Up by title
IMAX | Cinema 180
Showscan | iWERKS
Various 70mm Films
Large Format Engagement
Chronological Order

Cinerama | Film
Archive | Remaster
Cinemiracle | Rama
Cinerama 360
Circle Vision 360
Realife | Grandeur
Natural Vision
Vitascope | Magnifilm
Early Large Format Films


France | Germany
Denmark | England
Australia | USA

6-Track Dolby Stereo
7OMM Projectors
People | Eulogy
65mm/70mm Workshop

• 2025 | 2024 | 2023
2022 | 2021 | 2020
2019 | 2018 | 2017
2016 | 2015 | 2014
2013 | 2012 | 2011
2010 | 2009 | 2008
2007 | 2006 | 2005
2004 | 2003 | 2002

2005 | 2004 | 2002
2001 | 2000 | 1999
1998 | 1997 | 1996
1995 | 1994 | PDF

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


"100%" in 70mm

This article first appeared in
..in 70mm
The 70mm Newsletter

Reprinted from: In Camera, January 2000 Issue 60 - March 2000
The speed, action and excitement of NASCAR stock car racing has helped make it America's fastest growing sport. To enhance the experience for fans attending NASCAR's Winston Cup series, sponsor R.J. Reynolds commissioned Scene Three of Nashville, Tennessee, to create a large-format special venue film and transportable theater. It has become a popular added attraction at the races.

Titled "100%", the 10-minute program combines action from seven races to give fans a behind-the-scenes look at a NASCAR Winston Cup Race. The film was produced in 65mm, five perf format. It is shown in a specially constructed tent called "Thunder Theater," which combines state-of-the-art audio with giant screen visuals to present viewers with a highly-charged spectacle. "We wanted to capture the emotions of NASCAR Winston Cup racing," says Scene Three owner Marc Ball, who served as executive producer and director. "It's a tremendously exciting sport, but when you see it on television, it's just little cars racing around a little track. This film puts the audience into the race."

"The sponsor embraced the concept of shooting "100%" in 65mm format," says Ball. "They felt it would give their story an added dimension. They thought a big screen was a unique and fresh way of showing racing." 
Further in 70mm reading:

"The Witness"

Internet link:

Correction April 6, 2002:

Scott McCullough is the Director and Cinematographer for "100%".  Marc Ball was Executive Producer and Second Unit Director.

Misinformation and misrepresentation was given to the reporters regarding this story. Anyone can contact Scott McCullough if there are any questions or need for further clarification at director.scott@gmail.com.

Ball, co-director Scott McCullough and cinematographers T.C. Christensen, Denver Collins and Danny Ross compiled footage by shooting seven Winston Cup races over a five month period. The crews had full access to the racing venues. They also captured footage inside cars, on the track, in the garage and pit areas, and from helicopters hovering above the action. 

"I've always been fascinated by large-format films, such as IMAX" Ball says. "The image is clean, beautiful and very impactful, which is exactly what our client wanted." "100%" is a condensed version of a Winston Cup race with scenes culled from the different events covered. Although Ball had free rein to shoot, he still made sure his crews were inconspicuous. 

"Those three hours the cars are on the track are incredibly intense," says Ball. "The drivers are focused on winning that race. We wanted to make sure we did not get in the way. We didn't want the next day's headlines to read: 'Driver Loses Race After Hitting 65mm Camera.'"

Ball used an Arriflex 765 camera with a wide array of Arri lenses, ranging from 30-350mm and a 38-210 zoom; a Panavision HR 65mm high-speed system with a wide selection of lenses; an Arri 565 with Arri super-speed primes, a 14mm lens, and a 11-102 zoom; and the Spacecam 5 perf 65mm system. Where it was impractical to shoot with a 65mm camera, an Eyemo 35mm stunt camera was also used for pickup shots. The negative was then blown up to the larger format.

The project was shot in available light, ranging from bright sunlight during day races, to the mixed color temperatures of stadium lighting at night races. Ball chose Kodak Vision 200-speed film for the entire shoot. "It gave us beautiful images with no obvious grain," Ball explains. "On a giant screen, any hint of grain is exaggerated," says Ball. "We shot without any filtration and the colors are spectacular. The film reaches deep into the darkest areas even when we shot at night. It has incredible dynamic range and it didn't go grainy even in those extreme situations." 

The Thunder Theater was designed and built for "100%". The transportable facility is 7000 square feet (630 sq. m) and seats about 200 people. The film was shown during 38 different races on the Winston Cup circuit in 1999. Ball estimates that about a million people - an average of 20,000 to 25,000 per race - experienced "100%". The film was projected on a 50 x 22.5 foot (23.62 x 10.63 m) screen. The audio is carried through seven discreet channels.

"I prefer the wider 5 perf format," says Ball. "One's field of view is filled with the complete image rather than having to look around the screen to see everything. It allows the viewer to be more absorbed into the experience. It's a much more emotional event. 

Ball says the title is a tribute to the effort put out by the NASCAR drivers and crew. "The people in this sport give 100 percent all the time," he explains. "We believe that the audience gets a good taste of that in "100%" and can walk away appreciating the effort that goes into winning." 
Go: back - top - back issues
Updated 07-01-23