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Perspecta "stereo" is a misnomer. Stereo, whether audio or visual, must be recorded from at least two different locuses, whether microphones or the lenses of a camera. No actual depth, fore or aft, can be captured by a single mono signal. The early Fox CinemaScope productions used multiple...

In Boston, the film opened at the Loew's Orpheum. We waited for it to come to our neighborhood theater. My mother took me to see this in 1959 at E.M.Loews Salem Theatre. I was transfixed for the duration. Even then, I could see that the green on the MGM lion logo was an effect imposition that...

Information is trickling out slowly; it's not clear why 1.66 was chosen and I haven't seen any mention of the aperture AR. There's some discussion here: https://cinematography.com/index.php?/forums/topic/102361-the-return-of-vistavision/

Two films that have as much, if not more, social relevance for me today are A Man For All Seasons and Inherit The Wind.

Just a quick mention for discussion elsewhere, "The Brutalist" is about to be released. Filmed in VistaVision 1.66 and printed to 35mm and 70mm.

These have been out for a couple of years. Hasn't any US distributer tried to license them?

I stated the optics used for the 70mm production photography. Panavision made the optical printer lens used to squeeze the image into 35mm anamorphic format.

Cameras and lenses for the Todd A-O version: Mitchell Camera Corp., American Optical Co. and Bausch & Lomb.

Shamroy was skeptical about the on-camera filters and wanted to add the color in post, which was possible. He went along with the filters but urged shooting alternate takes without filters to provide a backup, to which Logan agreed. Buddy Adler, the producer, told Shamroy that he would be blamed...

Sounds similar to the 70mm print of MFL that was received at the Wang Center several years ago and was found to have sound only on the center track, which caused a significant amount of consternation to the techs during the sound setup. Speaking of mishandled 70mm prints, I recall being told...

Painted studio backdrops, some 90 feet wide, used in North By Northwest were part of an exhibition at the Boca Raton Museum of Art.

Somerville Theater showing The Searchers 70mm Sept. 19 and 20. Showing North By Northwest 70mm Oct. 21,22,23.

Ver gerharget!

Actually, it was done in real time initially by Film Effects of Hollywood. Linwood G. Dunn (left) assisted by Cecil Love are shown with the Mitchell BFC 65mm camera mounted on a motorized dolly for the final pullback. They used gelled lights in the three primary colors manually controlled by...

Certainly, but I was specifically addressing screen presentation.

I think all of us appreciate a film print made from a film negative, but once it goes into the digital domain, it should remain in the digital domain. Pushing it back onto film adds nothing to the presentation. At best.

Similar to a 70mm print I saw of Star Wars when first released that was scratched on both sides of the frame by improperly threading the mag head.

Olsen and Johnson were a big deal in those days. It was a big, zany musical revue on Broadway before they brought it to the screen.

The Somerville website usually denotes 70mm film if that is the mode of presentation and there is no such indication on their site. I have no definite confirmation but it seems it will be the 4K DCP, which to me is preferable. The 4K DCP of "North By Northwest" is running this Sunday at the...