American Cinematographer - October 1994 - 14
ground in sound broken by Lucas' effects
designers and rerecording mixers came
off better in the discrete six-track mag¬
netic format of 70mm than the compro¬
mised stereo-variable-area format. As a
result of the success of the 70mm ver¬
sions of Star Wars and Close Encounters,
there was an increase over the next 15
in the number of both 35mm anamorphic and 35mm flat films blown up
to 70mm for premiere releases for sound,
as well as 70mm projection installations
in multiplex shoeboxes too small for the
picture to have any impact.
With the introduction of digital
sound systems, executives are saying
there is no reason to make 70mm prints,
since it is now possible to have higher
quality discrete stereo for 35mm prints,
and, with DTS, potentially even 16mm
and Super 8 prints. Only cinematogra¬
phers and wide-screen buffs are bringing
up the issue of "higher picture quality."
As for production in 65mm, it
has to overcome the stigmatic failure of
Far and Away, a failure many believe
was partially due to Universal's not prop¬
erly playing up the original 65mm cin¬
ematography. Executives and publicity
people like to claim that the public is in¬
nocently unaware of the technological
aspects of filmmaking and presentation,
a claim refuted by the recent successful
years
LIGH TWEIGH T...
RUGGED... AND
The OConnor 35L Carbon Fiber
just
Tripod...
SECONDS to setup
70mm revivals of Lawrence of Arabia,
Ben-Hur, and Universal's
Single release sets all three legs
simultaneously
well
the
Jurassic Park.
as
as
own
Spartacus,
run of]
[record-breaking
Unfortunately, Little Buddha is
art-house film which is likely to have
little impact on the issue. Mr. Storaro
was fortunate in working with a vision¬
an
Seconds to setup on
terrain
almost
any
director and producer, both of whom
also outside the Hollywood loop. It
will take the power of such Hollywood
heavyweights as Lucas, Spielberg,
ary
Lightweight... just over 7 lbs
with spreader & spike guards
were
24" to 60M Range, below sitting
to above standing eye level
Use a 35L Carbon Fiber with
an Ultimate 515 or 1030B
Fluid Head for a real winning
combination
Scorsese, etc. to make Storaro's vision
reality for other cinematic artists.
-
a
Rick Mitchell
Film editor, film director,
film historian
Los Angeles
Errata
We
We build the best Products...
and guarantee them for 5 years
humbly apologize for leav¬
ing out Monty Brinton's photo credit in
August's article on Sony Wonder. And in
July's Production Slate we failed to men¬
tion B.I.G Creative Services, who hired
National Video Center to animate NBC
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American Cinematographer - October 1994
Table of Contents for the Digital Edition of American Cinematographer - October 1994
American Cinematographer - October 1994 - 1
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