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International 55 DAYS AT PEKING (PRE_ORDER) (1 Viewer)

Robert Harris

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On the Blu Ray itself it states it was restored from the original 70mm Super Technirama camera negative from Pinewood.
Furthermore there is an 11 minute restoration demonstration on the disc which also shows the difference between the 70mm version and the 35mm version.
The disc is stunning ....demonstration quality. In fact at FNAC in Paris it was being shown on all the monitors in their huge store.
Sorry, but someone has their terminology screwed up.

There is now, nor has there ever been, a beast known as a 70mm Super Technirama negative.
 

Robert Harris

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I gambled on the new French digibook version. I love digibooks and this 100 page book is very nicely done. Even though the text is French, there are a good many pictures including art and behind the scenes shots from the production.
The best news is this appears to be the best transfer of the film so far. It may the same restoration from the previous UK and French releases, but the uptick in clarity is spectacular.
The purple colors of the Empress's gown are a great color test for this film and they are outstanding (as before). However, this release allows the intricate details in the fabric to be displayed with perfect clarity. It now looks like a transfer made from 70 mm sized negative material. Hoping the upcoming release of El Cid and Fall of the Roman Empire on similar French digibooks will be treated the same way!
There is no “70mm sized negative,”
 

Indy Guy

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There is no “70mm sized negative,”
Thought it was shot in Technirama and presented in Tech 70?
The "real estate" on 35mm 8 perf Technirama frames is essentially the same as standard 70 mm frames...is this not true?
The Technirama 70 mm wide frames are recorded on 35 mm film running horizontally, rather than 70 mm wide film stock running vertically. Is this semantics or is there actually lesser "real estate" on a Technirama frame?
The great flexibility in using smaller Technirama cameras and film stock was an advantage that I was led to believe delivered 70 mm quality without the bulk. Is that also not true?
 

Robert Harris

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Thought it was shot in Technirama and presented in Tech 70?
The "real estate" on 35mm 8 perf Technirama frames is essentially the same as standard 70 mm frames...is this not true?
The Technirama 70 mm wide frames are recorded on 35 mm film running horizontally, rather than 70 mm wide film stock running vertically. Is this semantics or is there actually lesser "real estate" on a Technirama frame?
The great flexibility in using smaller Technirama cameras and film stock was an advantage that I was led to believe delivered 70 mm quality without the bulk. Is that also not true?
Not precisely. The major advantage of any 35/8 format over 65mm is the ability toward world-wide processing.

TLA was aa process unique and proprietary to Technicolor, which used a 50% anamorphic extraction to fill a 70mm frame, losing 35/8 real estate on all four sides.

I’ll try to find and post an example of the field extraction.

It worked beautifully.
 

RolandL

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From Widescreen web site. I don't know how accurate it is.

1t.jpg
 

Indy Guy

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I wonder how the 1.496" x .992" Technirama negative frame differs in size from a standard 70 mm negative frame?
 

Peter Apruzzese

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SuperPanavision
NEGATIVE SPECS:
Film Gauge: 65mm
Direction of travel: Vertical - five perforations - 24 fps
Camera Optics: Spherical
Aperture Dimensions: 2.072" x .906"
Max Aspect Ratio: 2.21:1

PRINT SPECS: 70mm Roadshow Print
Film Gauge: 70mm
Direction of travel: Vertical - five perforations - 24 fps
Projector Optics: Spherical
Aperture Dimensions: 1.912" x .870" nominal
Max Aspect Ratio: 2.21:1
 

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