Boxoffice (Oct-Dec 1963)

Sharpness of Dimension-150 Image Revealed at Santa Monica Debut By SYD CASSYD HOLLY’ WOOD — Within the limits of the quiet walls of the dismantled Rosemary Theatre, here in Santa Monica, the professional debut of Dimension-150 took place last week. To an audience of theatre and production executives, Richard Vetter, assistant professor of audio-visual and Carl Williams, instructor in the same art, both from the University of California at Los Angeles, demonstrated their system of curved-wall theatre projection. It may be termed a success, of a high order of magnitude. DEVELOPED SINCE 1959 From the unique vantage point of having viewed the original 16mm laboratory device, in its first application as an engineering training device at UCLA, in 1959, Boxoffice can attest to its growth into a fully professional 70mm theatre production and projection system. Both Vetter and Williams, novices in exhibitor business, had not originally intended the device for anything but an audio-visual communication system. Their progress has been dynamic, from education, to professional theatre exhibition of films. The reel exhibited contained projection images of conventional 35mm size, and the full curved screen 70mm size. It opened with the material shot with the D-150 lens showing the high speed travel of a sports car, followed by shots of San Francisco from a plane, outside building elevator, motorcycle and finally a roller-coaster ride. Camera lens used were 50mm, 70mm, 120mm and 150mm. To those who had watched the other system of Cinerama in the past, the effects were the same: the dizzying ride, the screams, etc. From the steady picture from one lens, contrasted with the Cinerama three-lens system, the picture was more satisfying, because there was a complete absence of lines on the screen. Dimension-150 is a single-image 70mm process, designed for exhibition to utilize 65-70mm equipment and film. The full process from production through exhibition, combines a 65mm camera lens for production, with the film developed and then printed on a 65-70mm optical printer, in the laboratory. The latter has a specially developed printed lens which corrects the filmimage for the purpose of deeply curved screen projection. The resultant release print of the film allows an area for six-track stereophonic sound-on-film. D-150 LENS CAN BE ADDED Any theatre in the field, which has standard 70mm projection and sound equipment, may add the D-150 lens to the system and, according to Vetter, can purchase a screen for approximately $5,000. With the lens tentatively priced at $2,000 a pair, a new type of entertainment is possible in a slightly converted theatre for $7,000. The problem for the moment is to get L of 65mm size, which can be reprinted in Technicolor or De Luxe film laboratory for use on a fully curved screen. Since the introduction of 70mm systems, of Panavision, Todd-AO, and other types of widescreen, approximately 600 theatres worldwide have been equipped for 70mm type of projection. To fit those projectors approximately 25 features were made during the past few years, which could be converted in the laboratory printer to the cuiwed-screen system. Most of these were originally roadshow films, and after special runs are printed down to conventional type prints for multi-releases in all theatres. To make the system economical for theatres to convert, there must be sufficient product. As an example, the demonstration reel contained a “converted” print of “South Pacific” and one of “Around the World in 80 Days.” According to sevei’al exhibitor executives, including Robert Stein, Statewide Theatres, Los Angeles, the new dimension made the film “vexT exciting.” The effect was bx-eathtaking and for films like this, with proper sound systems, such as xised in “Fantasia,” a new era of showmanship could result. Loxxis De Rochemont, who signed a deal for three pictures in the process, is expected to have his first feature in the middle of 1965. In the interim, George Pal, who has made films in the 70mm Cinerama process, has expressed interest in immediate production. First showing may be the rerxin of either “South Pacific” or “Around the World in 80 Days.” A factor in printing for the new process, so far as distributors are concerned is the cost of a print, which for a three-hour show of 18,000 feet in length woxxld be approximately $5,000, at the goirxg rate of 27 y2 cents per foot, for 70mm release prints, in color. The area of a 70mm print is 250 per cent that of the conventional 35mm print with extra space for tracks but the cost is almost four times the smaller print. Only two laboratories are presently equipped to turn out prints, but conversion may be expected soon of others because of the potential market. Progressively the D-150 group has grown. Its first deal in the professional field was with Todd-AO, who held the professional meeting some months ago, where a 16mm print was shown at the Beverly Hilton Hotel. The annoxmcement that Marshall Naify, United Califoi-nia Theatres, has made a deal with Vetter and Williams brought a new element into the field. Since this represents exhibitor money, rather than production, and the producer does not have to go to the competing Todd-AO system and pay a royalty on both systems, more producers may become interested. The Rosemary Theatre is to become a permanent laboratory, according to the annoxmcement from here. Lens from 10mm to four inches, which can be used, are available. Naify Says Speedup Necessary For Dimension150 Equipment LOS ANGELES — The enthusiasm and highly favorable reaction to the demonstration of Dimension-150 has necessitated a speedup of plans for equipment required to license producers for its use, according to Marshall Naify, president of United California Theatres. Naify reported that following the demonstration in Santa Monica on December 4, inquiries and requests for information from producers started pouring in. Technicolor Closes Deal To Acquire Photolab NEW YORK — Technicolor, Inc., and Town Photolab, Inc., have closed the plan and agreement of reorganization entered into by the two companies October 29, following the approval of the plan by the Town shax-eholders December 10, according to Patrick J. Frawley, chairman of the board and executive officer of Technicolor, and Abraham Saland, president of Town Photolab. Under the plan, Technicolor Corp. of America, a subsidiary of Technicolor, has acquired all the assets and assumed the liabilities of Town Photolab in exchange for 133,500 shares of Technicolor’s common stock. Additional Technicolor shares, up to 13,350 shares, may be issued to the Town shareholders under a market price formula contained in the plan. The business previously conducted by Town in the fields of consumer photographic processing and the sale of film, photographic equipment and accessories will be continued under the Town management as part of Technicolor’s consumer produce division. These activities will be carried on principally in New York, Boston and St. Louis. Partially as a result of the Town acquisition, which will be treated as a pooling of interests, it is expected that this division will contribute sales in excess of $18,000,000 in 1963, Frawley said. 'Mad World' Openings Set For 18 Theatres Dec. 18-20 NEW YORK — Stanley Kramer’s “It’s a Mad, Mad, Mad, Mad World” will open in 18 pre-Christmas engagements on December 18-19-20, according to Milton E. Cosen, United Artists national director of roadshows. This will bring to 23 the total of engagements of “Mad World,” which is currently playing reserved-seat engagements in New York, London, Los Angeles, Chicago and Boston. The December 18 openings will be at the Warner Theatre, Pittsburgh; Palace, Cleveland; Imperial, Montreal; Martin Cinerama, Atlanta, and Orpheum, San Francisco. On December 19, the picture will open at the Boyd, Philadelphia; Capitol, Cincinnati; Empire, Kansas City; Martin Cinerama, New Orleans; Sheridan, Miami Beach; Hollywood, Portland, Ore., and Windsor Cinerama, Montreal. The December 20 openings will be Carlton Theatre, Toronto, Capri, Dallas; Rialto, Louisville; Wisconsin Cinema I, Milwaxxkee, and Cinerama, Honolulu. Pathe Contemporary Gets Seven French Pictures NEW YORK — Pathe Contemporary Films has acqxiired national distribution rights to seven foreign-made features, according to Ben Siegel. They are “My Life to Live,” formerly distributed by Union, “Candide,” “The Marriage of Figaro” and “The Would-Be Gentlemen,” classic French films also distributed by Union or Kingsley International; “The Elusive Corporal” and “Picnic on the Gx’ass,” also French films, and “The Bride Is Much Too Beautiful,” a Brigitte Bardot picture originally distributed by Ellis Films in 1958. 10 BOXOFFICE :: December 16, 1963