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While 65mm negatives can be used to generate very high quality 35mm 'Scope prints converting the frame rate never looks quite right so the first film, "Oklahoma!" was shot on separate takes in 35mm CinemaScope (24 fps) while the 2nd film, "Around the World in 80 Days" was shot in 65mm at both speeds enabling high quality 35mm reductions to be made of the 24 fps version.

Because the 70mm frame is about 25% taller (5 perf instead of 4) it does run at a faster linear speed even when at the same frame rate. At 24 fps it runs at 112.5 ft per min. as compared to 35mm's 90 fpm.

There was a 65/70mm process that ran at 60 fps called "Showscan" developed by special effects wizard Douglas Trumbull but it was only used in special venues, never on a feature, and is now all but dead.

By 65/70 we mean a 65mm camera negative (and intermediate) and 70mm print. The extra 5mm outside the sprocket holes on each edge made room for two of the magnetic stripes for 6-track sound. The frame dimensions are about 2.6 times larger than 35mm Scope (true anamorphic) and about 4.6 times larger than 35mm 1.85 and a similar comparison for the usable negative area of Super 35 which unfortunately is how the majority of Scope format films are made these days.

Image quality is roughly proportional to negative size so, yes, a true 70mm film can take your breath away with how good it looks. The increased frame rate of a film like "Oklahoma!" can also contribute to a gorgeous looking picture. I've seen Showscan and while it looked great I cannot say that it was that much better than 70mm @ 30 fps. to warrant the trouble.

Steve

Whatever happened to that cinema and the machines?

Cheers, Thomas
www.in70mm.com
www.dp70.com
www.70mm.dk

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