Around The World in 80 Days (1 Viewer)

[Gordon McMurphy]

Please keep in mind that this is a 70mm feature at 30fps. The cost is many times that of standard 35mm.

One can only imagine the difficulties and expense of such a restoration!

Incidentally, how would a 30fps 65/70mm film be transfered to DVD? NTSC is 30fps, isn't it? Or is it 25fps? And they can't work from 35mm, because a reduction can't be made. So this transfer will be from 65 or 70mm at 30fps? And how would a PAL version be made?

I'm a little confused on this!

Cheers, Bob.


Gordy

 

[Robert Harris]

A reduction could certainly be made. And video is 30fps.

 

[Mark_Wilson]

I'm still watching my "Patrick McCart" version I recorded off of TCM last year. I hope they get this out on DVD soon.

 

[SteveP]

By the way, EIGHTY DAYS was shot twice in 65MM. Once; at 30 fps for roadsow release, and again at 24 fps for 35MM printdown general release.

 

[Patrick McCart]

A lot of times, the 24fps negative used dupe negative from the 30fps negative. Pretty much any scene without dialogue was duped like this.

However, I think the prologue was shot on normal 35mm for 24fps. The clip of A Trip To The Moon would be horrible at 30fps!

 

[TedD]

By the way, EIGHTY DAYS was shot twice in 65MM. once; at 30 fps for roadsow release, and again at 24 fps for 35MM printdown general release.

Not exactly. After the first release wave, which only showed in major cities, theaters in many other cities showed the 35mm release in roadshow engagements.

There is even some possibility that some engagements that were advertised as being in 70mm were 35mm Cinestage.

Special 35mm prints were prepared (Cinestage) from the 24 fps negative with a non-standard 1.567 squeeze ratio for projection at 2.10:1 using the full 35mm mag print area, which normally yielded a 2.55: AR.

See: http://www.widescreenmuseum.com/wide.../cinestage.htm

and:
http://www.widescreenmuseum.com/wide...aysformats.htm
for more info.

I personally saw the the Cinestage presentation that was shown at the Kaiser Dome in Honolulu, HI., and it was fantastic. 52' wide Todd-AO specification curved screen with about an 80' throw, 4 track mag with Perspecta encoded surrounds. The lenses were custom ground for the venue!

I must have seen it 15 or 20 times.

It was two years before 35mm standard anamorphic prints were released for non-Road Show engagements.

Ted

 

[Gordon McMurphy]

Special 35mm prints were prepared (Cinestage) from the 24 fps negative with a non-standard 1.567 squeeze ratio for projection at 2.10:1 using the full 35mm mag print area, which normally yielded a 2.55: AR.

Well remembered, Ted!

I had forgotten about that 1.567 x squeezing lense!


Gordy

 

[Robert Harris]

Cinestage was actually a bit more interesting than even as posted.

Many prints were not 35mm, but rather 34.5mm.

As there were duties in place in areas such as Great Britain for 35mm prints imported and not produced by British labs, the people at Todd had the prints "reduced" by 1/4mm on each side, yielding a "new" projection format.

Or was it 1/2mm from each side?

 

[TedD]

Robert, it was 1 mm from what would have been the side opposite where the sound track would have been placed, using large sprocket holes. There is a picture of a 34mm print on the 2nd URL referenced above.

And, as far as I know the 34 mm print was a one-off thing used in GB, since it required a seperate full-coat sound reproducer.

Ted