Around The World-Todd AO (1 Viewer)

[ScottR]

I have been enjoying the two-disc set of the original Around the World in Eighty Days. I'm wondering why there is no screen credit for TODD-AO either at the start of the film or in the end credits. Wasn't the 24fps version considered TODD-AO as well?

 

[Paul Linfesty]

The 24fps version was considered "Cinestage", at least in the 35mm version that used a 1.56 to 1 anamorphic squeeze. (There was also a standard "scope" version that used the full 2 to 1 squeeze to yield a scope width).

The original Todd-AO credit appeared where the "Color by Tecnicolor" credit appears on the DVD. Interestingly, the original "Print by Technicolor" credit remains in another portion of the end credits. (Todd-AO didn't allow its credit to appear on non 70mm prints). Supposedly, much of the DVD came from a 70mm (or 65mm) source, but some of the material came from 35mm. The credits were definitely the latter.

 

[Patrick McCart]

The film was completely shot in 65mm, save for the 35mm prologue (everything up until the rocket blasting off and the outer space footage).

The Todd-AO logo probably appeared after the film's title at the very end of the movie. Oddly enough, the section of the credits with the "Print by Technicolor" credit is obviously from a 2nd print since the color timing changes for that segment.

The Cinestage version was only shown in England (the 34mm with mag sound interlock Cinestage).

There's a ton of material on Todd-AO and "80 Days" at www.widescreenmuseum.com that you may find helpful.

 

[TedD]

Not true. The 34mm Cinestage version with separate intelock Mag was only shown in England.

The Kaiser Dome in Honolulu HI. and a number of other US theaters in smaller cities ran 35mm Cinestage prints with 4 track mag stripes with Ch 4 run through a Perspecta decoder to route it to left, rear, and center surrounds.

I was there, I saw the print and the booth. Custom integrated anamorphic/prime lenses were made for the venue as it had about an 75' throw and a 50+' wide screen.

Ted

 

[Robert Crawford]

I guess the edited quote above means that Ted was correct about the 34MM Cinestage with separate interlock Mag?






Crawdaddy

 

[Patrick McCart]

Here's what I found at the American Widescreen Museum:

http://www.widescreenmuseum.com/widescreen/wingto9.htm


So, yeah, Ted is right about that. I keep forgetting the "Cinestage" name was applied to both a 35mm mag print and the 34mm mag interlock.

 

[John Whittle]

Well, not really since it was 35mm not 34mm and it would be darn near impossible today to track down the interlock vs. penthouse (mag stripe) venues. It could be that the interlock was provided just for one theatre that didn't have the penthouse installation and the trucked in a dummy (that's a real technical term for a mag playback device that can't record) for the presentation. The Cinestage prints did require special projection lenses because of the non-standard compression ratio although you could dial in a Superscope lens to the right ratio.

So much for nit-picking.

John

 

[TedD]

No, John, were not done with nit-picking yet.

Go to this page: http://www.widescreenmuseum.com/widescreen/wingto9.htm and peruse the second item. Notice the 1mm removed from the right side of the print.

Now we are done with nit-picking.


Ted