58 WIDESCREEN WEEKEND Three steps to heaven Escape, Cinerama & The Triptych Mark Trompeteler reports on the evolving Widescreen Weekend festival of big screen technology at the National Science & Media Museum ust as cinema changes and heaven almost no other venue can emulate. central screen. An additional pair of evolves, so the festivals and Barco’s Stefan Vandemaele and acoustically transparent, and retractable institutions around it change too. Frederick Lanoy referred to the company’s screens, with additional curtaining, are A more diverse demographic of development and launch of the three-wall added to the two sides of the existing screen. delegates than usual descended on Escape system as almost part of another It is DCI-compliant and versions of movies Jthe newly renamed National Science and repeat of cinema history. They asserted that will be available with DCPs encoded so that Media Museum in Bradford to attend the recently, whilst box office takings were either the movie can be run with just one 21st Widescreen Weekend for four days in remaining steady, due to the utilisation of central screen, or in a version that has the mid-October. It billed itself as “the unique higher prices for PLF and an improved and two added screens available to project. They festival of big screen technology, past, wider range of offer and other sales factors, argue that, due to digital projection, Escape present and future”. Incorporating its there will always be a concern about falling is deliverable far more easily and reliably IMAX auditorium alongside the analogue, attendances in auditoria. As in previous than was Cinerama. There is no need for digital and three-strip projection facilities in eras, there is always that imperative that three projections boxes — “hushboxes” can its Pictureville cinema, and programming cinema must offer exceptional experiences be fitted round the additional two projectors recent releases alongside classic big screen that cannot be replicated at home. With in the auditorium. Synchronisation of films, efforts were clearly being made to large 4K TVs, surround sound systems, sound and picture is far more reliable and deliver on the promise of presenting past, 2K and 4K movie streaming services all easily achieved than it was with Cinerama. present and future of cinema technology. available, the imperative on cinema to offer The aspect ratio can be as wide as 7:1 an experience that cannot be imitated at (3x2.39:1), with today’s shooting of three- The best things come in threes home is as great, if not greater, than before. panel movies not having to be restricted to Nothing demonstrated the uniqueness of Barco’s Escape utilises a three-screen the three-camera rigs of times gone by. High this festival more than the programming: a system as Cinerama and “The Triptych” did resolution digital motion picture cameras presentation on the Barco Escape system before it. No-one will be utilising three walls making movies for large-size PLF screens alongside the exhibition of a digital of their living rooms any time soon. are capable of achieving the required 858 x restoration of a Cinerama/Cinemiracle film. Stefan and Frederick maintain that 6144 pixel image size via their large sensors: These accompanied the presentation of an Escape is a compelling experience that can e.g. the Arri 65 (6560x3100), Red Weapon original three-strip Cinerama film, as well only ever be enjoyed at the cinema. It can be (8192x4320), Red Epic (6144x3160) and the as the legendary triptych from Abel Gance’s retro-fitted by Barco to existing cinemas Sony F65 (6144x2160). Obviously the Napoleon (1927) — a three-strip cinema whilst retaining the integrity of the existing making of movies or sequences in “Escape” CINEMA TECHNOLOGY | DECEMBER 2017 www.cinematech.today 058_DEC17_WIDESCREEN.indd 58 15/11/2017 16:37 WIDESCREEN WEEKEND 59 has significant pre-production, production, fans, and was the opening night film, Three Panel Experts: Left to right: Stefan post-production and workflow issues. Even projected in 70mm, of course. The closing Vandemaele, Frederick Lanoy, David Strohmaier, Randy Gitsch, Patrick Stanbury, Kevin Brownlow. a movie been shot with just one central night film Lawrence of Arabia featured a screen in mind could have sequences added glorious pristine new 70mm print without a and the brilliant idea of a celluloid Saturday that are in Escape, or could be entirely mark on it, and it looked and sounded when every film shown was on celluloid so Escape, enhanced by CGI fabricating the magnificent. Its visual and dramatic power, that people who had never experienced two additional panels to add immersion. and thoughtful and layered unfolding of an celluloid projection could buy a day pass One Cinerama expert mentioned to me in epic story reminds us just how good classic and experience analogue cinema without conversation that, in his view, Escape had films can be. Classics are not reliant on the having to subscribe to the whole four days. the danger of just producing “visual transitory nature of sensation and spectacle Programming suggestions from a eyewash” to either side of the central screen. alone, or on the latest technologies to deliver number of delegates had clearly been taken His fear was that whilst “eyewash” on either them — the ingredients and craft of good on board by the festival director and been side might give a feeling of immersion it storytelling are just as important, if not amalgamated into this year’s event. might not be used narratively. His point was more so. Gregory Orr, grandson of Jack L, Programme consultants Rebecca Nicole that in Cinerama and its predecessor, “The Warner, and a filmmaker in his own right, Williams and David Strohmaier and guest Triptych”, side panels were used to depict attended the whole event and introduced a curator Sir Christopher Frayling had action and characters essential to the scene, beautiful 4K DCP of “My Fair Lady” on the contributed to the work of the triumvirate PHOTOS BY THE AUTHOR WITH ACKNOWLEDGEMENTS TO: CINERAMA INC.; PHOTOPLAY PRODUCTIONS; BFI; BARCO; NATIONAL SCIENCE & MEDIA MUSEUM and hence story development. flat screen and in 2.2:1. behind the organisation of the weekend: Cinerama screenings this year included As well as the films mentioned, the Kathryn Penny (festival director), Rebecca Hill (festival co-ordinator) and Tom Perkin (technical manager). Double the number of “BARCO ESCAPE USES A THREE-SCREEN SYSTEM. NO-ONE WILL student day passes had been sold this year and there was an overall 15% increase in BE USING THREE WALLS OF THEIR LIVING ROOM ANY TIME SOON.” attendance for the whole event. IMIS was pleased to sp onsor the weekend once more. a screening of the museum’s rare and fragile weekend featured a broad mix: The Fortune A Three-panel finale three-strip print of The Wonderful World of Cookie (35mm B&W 2.35:1); Jailhouse Rock To end on the three-panel cinema theme, I the Brothers Grimm. The Cinerama (35mm B&W 2.35:1); Apocalypse Now Redux asked Stefan Vandemaele of Barco to restoration team of David Strohmaier and (35mm 2.35:1); Moon (35mm 2.35:1); The comment on what he thought of it. He said Randy Gitsch presented their improved Untouchables (70mm “blow-up” 2.2:1); “Cinerama was the first format to expand restoration of the three-strip nautical feature Suspiria (35mm 2.35:1); La La Land (DCP the theatrical experience beyond the length travelogue Windjammer. In today’s 2.55:1); and Sleeping Beauty (DCP 2.55:1). traditional rectangle, offering an immersive climate of PLF formats and discussions on Interspersed with the films were a number new format to moviegoers for the first time how VR may impact mainstream cinema, of “in conversations with” discussions on ever. I enjoyed seeing it in its full glory Cinerama screenings at Bradford stage relating to the films. during the Brothers Grimm screening, using demonstrate just how much resolution and Now in its fourth year, the IMIS three original analogue projectors. A detail is presented across a deeply curved International Student Widescreen Film of challenging job for the projectionists, but Cinerama screen and how immersive and the Year Competition” featured the one very well done! I was excited to join the like VR it can seem. screening of a shortlist of student films from Widescreen Festival at Bradford to bridge Still on the three panel theme, the release around the world. The competition, which formats like Cinerama with new formats of the silent masterpiece Napoleon in 2017 on only features films in aspect ratios of 2.2:1 such as Barco Escape, our own three-screen, both DCP and BluRay has made the viewing and wider, showed some which had panoramic cinema experience. It’s good to of the legendary Napoleon triptych far easier outstanding commercial production values. reflect, look into movie history and learn to arrange. Kevin Brownlow gave an Within the overall programming mix, from it. Today, we’ve overcome projection illustrated account of his epic lifelong there was an opportunity to choose between challenges of the 1960s and have the luxury journey to restore the film, and his partner two different films on two separate of working with advance digital projectors at their company, Photoplay, Patrick occasions and programming strands within that allow easier synchronisation and Stanbury, told us about the restoration of the the evolving weekend were becoming modern post production equipment.” triptych for digital release and presentation. evident: the traditional fare of 70mm, three-strip and widescreen classics; a whole visit www.cinematech today a modern widescreen Classic day dedicated to students and a younger age Even in the year of its release, Christopher demographic; celebrating monochrome FOR ALL YOUR NEWS Nolan’s Dunkirk has already reached classic widescreen; a family film for Sunday & INDUSTRY ANALYSIS status among widescreen and 70mm film afternoon; the inclusion of a cult film or two; www.cinematech.today DECEMBER 2017 | CINEMA TECHNOLOGY 058_DEC17_WIDESCREEN.indd 59 15/11/2017 16:37.