List of 70mm Films on Blu-ray 1926-Present

cinemiracle

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Thanks for the support but I am not lholding my breath that Fox will bring all their Cleopatra assets to Fotokem right way :)

I just happen to think that overall Cleopatra is their best looking high profile 65mm production so they should look into releasing it as a flagship classic in the 4k UHD format. The same goes for Warner with Ben-Hur (1959), Sony with Lawrence of Arabia and Universal with Spartacus.
I totally agree with you in that CLEOPATRA was Fox's best looking 65mm production, It was the most spectacular film that I saw at the time of it's original release-and it has yet to be surpassed.
 

cinemiracle

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I wonder why "Those Magnificent Men in Their Flying Machines" and "The Agony and The Ecstasy" were the only two 70mm Fox titles shorted with a 2K scan? After all, their other 70mm titles received 4K or better. I wonder what the likelihood would be that Fox might revisit both of the aforementioned titles by giving them an upgraded 4K scan, sometime in the near future?
Maybe it was because that TMMITFM was a massive hit in 70mm where I worked . TAATE was a flop. I still enjoy seeing TMMITFM on bluray but TAATE bores me.
 

OliverK

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That is a difficult one!
I found all three movies OK but not great and I would have to guess that Can-Can may have the potential to look the best among the three so I would go with that one.
 

OliverK

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DOCTOR DOLITTLE was released by Fox last year on blu-ray.
But it looks really bad - I have seen bits of it and it is derived from an old DVD era master.

I know that TMMITFM was a big hit but I guess it is one of those movies where having been a hit does not tranlate to big home video sales in our times. TAATE indeed did not fare that well but I liked it a lot when I had the pleasure to see it in 70mm.
 

ptb2020

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If you are going to include foreign movies the Alain Delon La Tulipe Noire/The Black Tulip from 1964 was shot in 70mm and has had a gorgeous transfer to Blu Ray in France and Germany.
 

ptb2020

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That is a difficult one!
I found all three movies OK but not great and I would have to guess that Can-Can may have the potential to look the best among the three so I would go with that one.
I remember last time Can-Can was shown on U.K. tv back in the naughties it looked gorgeous, clearly a beautiful HD transfer had been done somewhere. I didn’t have a Blu Ray recorder then so could only make a dvd but even that looks good.
 

avroman

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I've been waiting not too patiently for 20 years for Michael Todd's "Around the World in 80 Days " on Blu, or preferably now 4K. Hoping it arrives before I "kick the bucket ". I am 82.
 
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ptb2020

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I've been waiting not too patiently for 20 years for Michael Todd's "Around the World in 80 Days " on Blu, or preferably now 4K. Hoping it arrives before I "kick the bucket ". I am 82.
Why? Watched it when broadcast on French tv last year and thought it like wading through mud! Incredibly slow. Basically just a star studded travelogue.
 

ptb2020

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It holds great memories for me when I screened it at my Theatre in 1958.
Ah. Many movies I saw as a kid and thought fantastic haven’t held up to the test of time. Hope you aren’t disappointed when you see this one again. Mind you as a travelogue a 70mm quality presentation will only help the visuals. Great end titles too!
 

avroman

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I ran the family movie theatre in Brisbane, Australia, from 1953 to 1990. we were installed with Cinemascope/4 track magnetic surround in 1954, and 70mm in 1968, then Xenon Lamps and platters in 1972. We also had variable squeeze Varimorph Anamorphic Lenses, which enabled us to use the ATWIED Cinestage Prints.
Around the World in 80 Days, was released in Australia before any theatres were equipped with 70mm, so it was screened here in either CinemaScope prints, or in equipped theatres, with CineStage prints, which were 35mm Magnetic prints with a 1.5 Anamorphic squeeze.
 
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Robert Harris

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I ran the family movie theatre in Brisbane, Australia, from 1953 to 1990. we were installed with Cinemascope/4 track magnetic surround in 1954, and 70mm in 1968, then Xenon Lamps and platters in 1972. We also had variable squeeze Varimorph Anamorphic Lenses, which enabled us to use the ATWIED Cinestage Prints.
Around the World in 80 Days, was released in Australia before any theatres were equipped with 70mm, so it was screened here in either CinemaScope prints, or in equipped theatres, with CineStage prints, which were 35mm Magnetic prints with a 1.5 Anamorphic squeeze.
Just to confirm, you ran your Cinestage print at 24fps? There have been rumors of 30fps prints, which I’ve never been able to confirm.

There are two sets of cutting continuities - one for each speed - and sets of printing matrices could have been struck from either, or both.
 
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Vern Dias

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Theodore V Dias
The Kaiser Dome in Waikiki ran 80 Days with a Cinestage print for many months. It was the only major Hollywood release that was not shown by either of the two existing theater chains (Consolidated Amusement and Royal Theaters).

Cinestage format was 24 FPS, 35mm, 4 track magnetic (LCR) with a unique surround configuration using Perspecta encoding on the surround channel to provide directional surrounds (Left, Right, Back).

The 1.56x anamorphic lenses were custom built because of the combination of a short throw and a large curved screen.

While I didn't work there (I was 14 at the time) I did often spend a Saturday afternoon and I often visited the booth. It was also unique in Hawaii because it was the only 2 man booth operation in the territory.
 
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avroman

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Just to confirm, you ran your Cinestage print at 24fps? There have been rumors of 30fps prints, which I’ve never been able to confirm.

There are two sets of cutting continuities - one for each speed - and sets of printing matrices could have been struck from either, or both.
Yes, the CineStage print was 24fps.
The image was outstanding. Far better than the average CinemaScope prints of the time.
 

Robert Harris

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Yes, the CineStage print was 24fps.
The image was outstanding. Far better than the average CinemaScope prints of the time.
Yes, the prints were quite beautiful, afaik the first 65mm to reduction scope matrices, although dye transfer prints were 34mm. A nice challenger to early Vista.
 

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