Cinerama Hollywood
6360 Sunset Boulevard,
Los Angeles,
CA
90028
6360 Sunset Boulevard,
Los Angeles,
CA
90028
142 people
favorited this theater
Showing 476 - 500 of 1,416 comments
I echo the above sentiment. Best wishes, Mr. Sittig.
I also attended the Sunday night showing of “This Is Cinerama” and stayed for the 3 strip short film In The Picture. Epic epic night!
Thank you John Sittig for the fantastic Cinerama Festival this week. I attended This is Cinerama on Sunday night and just got home from seeing IAMMMMW in 70mm. Sunday was sold out and tonight was close it it. It was fantastic to see these great films (well ok, TIC is not that great, but it is fun) presented how and where they should be shown!
It was announced Sunday that you will be retiring, and I wanted to personally thank you for decades of the best projection and sound possible! Thank you for your dedication and hard work on restoration so people like myself in 2012 can actually see Cinerama movies in 3 strip Cinerama! Some of my most treasured memories happened on your watch at the Dome over the past few decades, and I wish you much happiness in your retirement!
Seeing The Wonderful World of the Brothers Grimm in Cinerama was one of the great movie experiences of my life. Any flaws in the print were so easy to overlook when the film as a whole was so beautiful. If only George Pal had lived to see this show. His love of storytelling was on display in every scene. I only hope some of his surviving family members were aware of it.
When I first saw TIC in Boston in 1960, the projectionist dropped a hinged sephia filter in front of the lens when that segment came up and quickly removed at the seqment end. Those segments had been photographed in black @ white in late 1949.
Hello to J. Sittig-
i just watched the blu-ray disc of the restored remastered “This Is Cinerama”. i quite enjoyed it
and i have two questions-
1.one thing i liked about the restored remastered blu-ray disc released Sept. of ‘08 of “How The West Was Won"was that the lines between the panels were virtually eliminated. yet with TIC that was not done. might i ask why?
2.after watching the film first without the commentary i wondered why the Long Island church choir segment was in sepia rather than Technicolor as was the rest of the film. when i watched the film again with the commentary my question was answered by the fact this scene was not shot for TIC but was a test scene shot by Waller to get backing for TIC. of course the sepia isn’t changeable but couldn’t that scene have been restored/remastered a bit more so it had the sharp crisp crystal clear image of the rest of the film?
Yep…masking is movable indeed.
jsittig will be able to answer that question but I think the Dome has movable top and side masking
Does anyone know the exact width of the Dome’s screen when showing 1.85 and showing ‘scope? The Arclight website says that the screen is “32 by 86 feet” but the math suggests the full 86 foot screen is only utilized when projecting a format such as Ultra Panavision (2.76:1). Does the Dome always project a common height for all formats?
Saw The Master today under the dome in glorious 70mm!
I can agree with your, Edward, but to whom is the statement really being made?
I hope film is not dead and that some filmmakers will continue to use film. Of course video is here to stay and there is no going back.
Roger: it is true, which is also why the 70mm prints are hard-matted to 1.85:1. No, it doesn’t really make sense, especially considering all of PTA’s other features were shot 2.39:1, which is closer to 70mm’s 2.20:1 than Academy flat’s 1.85:1, but that’s what happened.
CSWalczak: PTA shooting most of the film in 65mm (only using 35mm for scenes where a 65mm camera would not have fit or otherwise worked) was his way of making a statement about the current state of digital cinema. If one may never be able to work with film again, especially if one is only making a film every five years now, why not go out on the format with something special?
Aspect ratio It’s the filmmakers choice. If I shot a film in 65mm I would use the whole frame. To open in a limited roadshow engagement in the 70mm format got me to the theater to see a film I would have waited and watched on video. The screen at The Dome is big and there were scenes, even on close examination, that were very clear and with fine detail. I saw a 70mm blow up of “Camalot” in one of the big New York theaters with a huge one-hundred foot screen and there was one scene where the grain was a large as baseballs.
Following up on RogerA’s comment: why bother to originate the film on 70mm stock if it is not going to be exhibited in a widescreen ratio? While I admire the director’s work, up to this point, I do not understand why he set off a stir to encourage as many 70mm showings as possible when the film is masked down to a conventional aspect ratio. The only result of doing that is a somewhat sharper image.
Well if that is true than that would explain the difference in quality throughout the film.
RogerA, while more than half of The Master was shot in 65mm, using Kodak 5201, 5207 and 5213 stock, the remainder was shot in 35mm.
“The Master” was not a 35mm blow up it was shot on 65mm negative. The choice not to use the full frame and mask the sides was the decision of the director.
RogerA Yes, the audience will need to leave the theatre between shows so we can reset formats for the next show and give the crew opportunity to clean the theatre. Since all seats are reserved, there is no need to stand in a line since your chosen seat will be waiting for you. You might want to try our Cinerama inspired menu at the cafe or browse the gift shop for lots of Cinerama branded merchandise. John Sittig, Cinerama Inc.
Which films are best seen in the Cinerama Done? Is it expected that The Hobbit will be screened there?
Like most films the quality varied and when any film is projected on a large screen one can see details that aren’t as obvious on a smaller screen. Some scenes in “The Master” were very clear, sharp with resolution seldom seen in theaters today but not every scene was crystal clear. Quality seem to depend on the camera lens that was used and of course the film stock. There was a tiny bit of jump and bounce but that was in the projector and it wasn’t that noticeable. I must be used to digital projection because there was extreme flicker in some of the bright scenes. Overall it was a excellent presentation but it clearly demonstrates the difference between high quality film and video. Let’s hope there is a future for both formats. There is no question that each has a different look.
What, no reviews of The Master in 70mm?
The upcoming Cinerama Film Festival has showings scheduled with a gap of about 40 minutes between each film. Does anyone know how they will handle persons staying for more than one show ? Will it be necessary to exit the building, and re-enter ?
I bought my ticket for “The Master” a couple of weeks ago and there were plenty of open seats but the last time I checked most of the seats for the Saturday 4:45 show were sold. It looks like it will do big biz this weekend at the Arclight!
Yes, early reports were correct — there was one installed in #3.
The in70mm.com site indicates that two 70mm prints of “The Master” are being shipped to the Dome, and the schedule of showings for Friday, the 14th, shows that not all of the showings are in the Dome, so it would appear that at least one other screen at the Arclight has been or is equipped for 70mm. Can anyone confirm?