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THE BIBLE was in Dimension 150, not Todd-AO. But if the original poster was interested in Blu-rays from any film that originated on 70mm, that (along with PATTON) could be included, as well as all Super Panavision and Ultra Panavision films.
Wasn’t Dimension 150 a variation of Todd-AO ?
Yes. The D-150 process was a unique set of lenses adapted to Todd-AO 65mm cameras by Dr. Richard Vetter. The process was projected through a special D-150 projection lens onto a curved, ultra-large screen in theatres so-equipped and designated.
The Super Panavision 70 process (also known on a few films by Panavision 70 or simply as Super Panavision, Panavision Super 70 and Panavision System-65) has an identical spec to the 24-fps Todd-AO 70mm system.
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The Super Panavision 70 process (also known on a few films by Panavision 70 or simply as Super Panavision, Panavision Super 70 and Panavision System-65) has an identical spec to the 24-fps Todd-AO 70mm system.
It's really a "rose by any other name" kind of thing. What was the difference? They were made by different companies. What was the difference between CinemaScope and Panavision? Answer: Nothing. Same system or process. CinemaScope had imperfect lens assemblies in the early years. Panavision came into being to create better lens, but the system remained the same. CinemaScope just became Panavision. 70mm non-anamorphic widescreen, basically all the same process. Super Technirama 70, now that was another process. 70mm didn't come into that until the printing phase.
You got that right Rory.
Todd-AO and Super Panavision 70 use the same SMPTE spec (truly the best of the widescreen processes, IMHO).
The Panavision anamorphic lens design (mostly) solved the distortion issues commonly associated with the CinemaScope lenses (actors having the "mumps", excessively bent horizon lines, etc.)
Technirama was the VistaVision process (8-perf 35mm film run horizontally in the camera) with a 1.5:1 compression anamorphic lens. It got the "Super Technirama 70" moniker when they printed that up to 70mm (SPARTACUS, SLEEPING BEAUTY, EL CID, etc.).
Movies in the 50's and 60's sure had a myriad of formats to try and make movies "special" and get folks away from TV. Like all technological advances of it, some vestiges of it linger on in today's movie making technology.
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The reason you can't find a Todd-AO credit in "The Alamo" is that most often the credit was removed when Todd-AO films were printed down to 35mm scope. I assume 35mm prints were used for television, VHS and DVDs.
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