I had seen that before. Look at this part, and I quote:
“Using whatever sources were available, the restoration team created a new 35mm 8-perf negative from which a 65mm inter positive was generated. Although not noticeable on the screen, some elements were as many as eight generations away from the original negative. Both 70mm and 35mm prints were then made for theatrical showing.”
65mm interpositive — 70mm prints for soundtrack etc. — doesn’t that makes it a 65mm process? It was probably that way for the original Vertigo which is what they are talking about. I think it is very simple explanation. Anyway, I am not going to spend the rest of my life discussing if VV is 65mm or 100mm or whatever. Over and out.
OK, technically VV was 70mm since it was a horizontally filmed two 35mm frames. But if a theater showed the horizontal print, the film image in the double frame would be 65mm since the other 5mm were for the sprockets and soundtrack(s), just like ToddAO and other 70mm systems. Can a CT commenter who is a projectionist or film technician clarify this? Or can you be more specific, Michael? I will appreciate a more detailed response.
Bobby, as I said on the March 30 post above, all VistaVision films were shot in 65mm, and only 1 or 2 theaters in NY and LA could show the 65mm horizontal prints, all other showings were in reduced 35mm prints and theaters did no have to use a different projector. The “changeover” signal at the right top of the screen indicated to projectionists the width of the projected film they could use depending on the size of the screen since main action was usually centered when shooting the film. Recommend you take a look at the VistaVision page on the American WideScreen Museum website. Here is the link: View link
Ed, I did check off the “notify me…” Denpiano, I want to be notified instead of checkin out the pages. The names of theaters with new comments are not kept on the home page all day, so sometimes I miss the comments for days.
Even though I re-registered I am still not being notified of new comments on this or other theaters pages, so I have to check once in a while to see which theaters have new comments. I sent an email to CT some days ago and have not received a response or have the problem fixed. Maybe it is another computer glitch, let’s hope it is fixed soon.
Mike: In the VistaVision section of the American WideScren Mujseum look at the ad for Strategic Air Command’s LA opening which will give you an idea of the screen Paramount Pictures' VistaVision used for the proper horizontal showing of this process. Here is the link:
Mike: VistaVision was a 65mm process in which the film was filmed and projected horizontally and the image projected was taller than CinemaScope. Only a few theaters had 65mm horizontal projectors, I think in NYC only the Paramount and Radio City had it. The general releases were 35mm prints projected vertically in regular wide screens, if it was a scope screen it only covered the center part of the screen like any other 35mm wide screen film. However, the fact that VistaVision films were shot in 65mm, the reduced 35mm print was very sharp. The “change” signal at the right top of the screen indicated to projectionists that the projected film could be bigger or wider, since main action was usually centered when shooting the film. Recommend you take a look at the VistaVision page on the American WideScreen Museum website.
I just discovered this website from Puerto Rico. In the section Historia del cine en Puerto Rico they mention the buiding of the first island cinemas including the Tres Banderas.
I agree William but also, Cinerama was born here at the Broadway theater and we don’t have a Cinerama Theatre as LA and Seattle do.
Tinseltoes, thanks for all the info you enlighten us with.
The Royale is now the Bernard B. Jacobs Theatre (Source: Wikipedia).
The Bernard B. Jacobs Theatre is a legitimate Broadway theatre located at 242 West 45th Street (George Abbott Way) in midtown-Manhattan.
Designed by architect Herbert J. Krapp, it opened as the Royale Theatre on January 11, 1927 with a musical entitled Piggy. Producer John Golden leased the theatre and renamed it for himself from 1932 to 1937 (when he moved to the Theatre Masque next door). The Shubert Organization then assumed ownership and initially leased the theatre to CBS Radio. In 1940 the Royale was restored to use as a legitimate theatre under its original name. On May 9, 2005, it was renamed for longtime Shubert Organization president Bernard B. Jacobs.
Correction: for Imax projection.
celboy, what is a Liemax screen, a pseudo Imax, too small for max projection?
I had seen that before. Look at this part, and I quote:
“Using whatever sources were available, the restoration team created a new 35mm 8-perf negative from which a 65mm inter positive was generated. Although not noticeable on the screen, some elements were as many as eight generations away from the original negative. Both 70mm and 35mm prints were then made for theatrical showing.”
65mm interpositive — 70mm prints for soundtrack etc. — doesn’t that makes it a 65mm process? It was probably that way for the original Vertigo which is what they are talking about. I think it is very simple explanation. Anyway, I am not going to spend the rest of my life discussing if VV is 65mm or 100mm or whatever. Over and out.
OK, technically VV was 70mm since it was a horizontally filmed two 35mm frames. But if a theater showed the horizontal print, the film image in the double frame would be 65mm since the other 5mm were for the sprockets and soundtrack(s), just like ToddAO and other 70mm systems. Can a CT commenter who is a projectionist or film technician clarify this? Or can you be more specific, Michael? I will appreciate a more detailed response.
Bobby, as I said on the March 30 post above, all VistaVision films were shot in 65mm, and only 1 or 2 theaters in NY and LA could show the 65mm horizontal prints, all other showings were in reduced 35mm prints and theaters did no have to use a different projector. The “changeover” signal at the right top of the screen indicated to projectionists the width of the projected film they could use depending on the size of the screen since main action was usually centered when shooting the film. Recommend you take a look at the VistaVision page on the American WideScreen Museum website. Here is the link:
View link
Ed, I did check off the “notify me…” Denpiano, I want to be notified instead of checkin out the pages. The names of theaters with new comments are not kept on the home page all day, so sometimes I miss the comments for days.
Even though I re-registered I am still not being notified of new comments on this or other theaters pages, so I have to check once in a while to see which theaters have new comments. I sent an email to CT some days ago and have not received a response or have the problem fixed. Maybe it is another computer glitch, let’s hope it is fixed soon.
Re-registering.
Registering.
Correction, around.
Of course 35mm was wround when it opened. I don’t think they showed 16mm films.
Registering.
If I remember correctly, Rose Marie was the first MGM musical in CinemaScope.
Mike: In the VistaVision section of the American WideScren Mujseum look at the ad for Strategic Air Command’s LA opening which will give you an idea of the screen Paramount Pictures' VistaVision used for the proper horizontal showing of this process. Here is the link:
View link
Mike: VistaVision was a 65mm process in which the film was filmed and projected horizontally and the image projected was taller than CinemaScope. Only a few theaters had 65mm horizontal projectors, I think in NYC only the Paramount and Radio City had it. The general releases were 35mm prints projected vertically in regular wide screens, if it was a scope screen it only covered the center part of the screen like any other 35mm wide screen film. However, the fact that VistaVision films were shot in 65mm, the reduced 35mm print was very sharp. The “change” signal at the right top of the screen indicated to projectionists that the projected film could be bigger or wider, since main action was usually centered when shooting the film. Recommend you take a look at the VistaVision page on the American WideScreen Museum website.
Re Paramount photo, you may have to click to photo #5 if it does not come up right away.
Paramount photo of how it looks now:
View link
I just discovered this website from Puerto Rico. In the section Historia del cine en Puerto Rico they mention the buiding of the first island cinemas including the Tres Banderas.
http://www.Cinemovida.net/
I agree William but also, Cinerama was born here at the Broadway theater and we don’t have a Cinerama Theatre as LA and Seattle do.
Tinseltoes, thanks for all the info you enlighten us with.
Registering.
Registering.
Registering.
Registering.
Sorry for the double post.
The Royale is now the Bernard B. Jacobs Theatre (Source: Wikipedia).
The Bernard B. Jacobs Theatre is a legitimate Broadway theatre located at 242 West 45th Street (George Abbott Way) in midtown-Manhattan.
Designed by architect Herbert J. Krapp, it opened as the Royale Theatre on January 11, 1927 with a musical entitled Piggy. Producer John Golden leased the theatre and renamed it for himself from 1932 to 1937 (when he moved to the Theatre Masque next door). The Shubert Organization then assumed ownership and initially leased the theatre to CBS Radio. In 1940 the Royale was restored to use as a legitimate theatre under its original name. On May 9, 2005, it was renamed for longtime Shubert Organization president Bernard B. Jacobs.