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This topic comprises 2 pages: 1 2
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Author
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Topic: QT's movie in Ultra Panavision 70??
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Steve Kraus
Film God
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Posts: 4094
From: Chicago, IL, USA
Registered: May 2000
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posted 11-10-2014 07:48 PM
You've heard that Tarantino plans to shoot The Hateful Eight in 65mm. Did you know he was planning to shoot Ultra Panavision 70? For those just joining us, UP70 combines 65/70mm with a slight (1.25X) anamorphic squeeze for some seriously wide imagery.
I love 70mm (65mm negative) but maybe someone needs to point out to him that many theatres will either crop the sides or have to letterbox the image to get it all on screen. Even back in the day, many theatres cropped the sides.
http://deadline.com/2014/11/quentin-tarantino-retirement-hateful-eight-international-release-1201280583/
The article speaks of how he really wants people to be blown away by 70mm compared to digital cinema which he refers to as TV. They go on to discuss how the movie is being sold territory by territory as wants knowledgeable people to know how long it can play EXCLUSIVELY in 70mm.
quote: “We’re doing this 70 mm, and we are trying to create an event,” he said. “I need to know from all of you if this can last a month in your territory in that format, or two weeks. Then we roll it out in 35 and eventually digital.
But here is the kicker:
quote: [DP cinematographer Bob Richardson] went to Panavision to check out lenses for this big Sherman Tank of a camera he’ll use. He goes into the warehouse room and sees all these big crazy lenses. He asks, what are those? It was the Ultra-Panavision lenses that haven’t been used since How The West Was Won, Mutiny On The Bounty, Battle Of The Bulge and It’s A Mad Mad Mad Mad World, which were all bigger than the normal 70 mm. If the normal scope is 235, this is 278, the widest frame possible on film. The projectors need a decoder, an adapter, to blow it out that way. That’s why Mad Mad World, Battle Of The Bulge and Ice Station Zebra look the way they do. The last movie to use these lenses was Khartoum with Charlton Heston and Laurence Olivier. We’re using those lenses for this movie. We’ve been testing them the last month and everything is A-ok. They look amazing. We are literally coming out with the biggest wide screen movie shot in the last 40 years.”
Holy smoke!
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