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So, sadly not the best it could have been anyway. The film was shot on 70mm. One hope sit is significantly better than previously, but, no matter what they have done with it - 4k restoration or no, it will be a pale shadow of a potential full blown 70mm restoration.
Better than nothing, but they missed the boat in real terms.
It was filmed on 35 mm not 70 mm
It was filmed using 35 mm Super 70 Technirama format and then blown up to 70 mm film
This process allowed to achieve ultra-high definition and to capture large panoramic scenes
Large format 35mm original film elements = 35 mm Super 70 Technirama format
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Were did that come from Paul, wikipedia?
Okay, I'll expand on it. Technirama isn't just 35mm 'blown up' to 70mm. It is a process used during filming that fires the film through the VistVision type camera at, if memory serves 180ft per min, thus extracting twice as much form the film as normal, utilizes a special lens to squeeze the image by 150%, and when it all flops out it is 70mm!
Essentially it is a bastardised system, but it is not, to all intents and purposes, 35mm
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Super Technirama 70 was a 70mm process shot on 35mm film
Info from widescreenmuseum
Go back and read what I wrote Paul. It is NOT that simple, and it is not 35 mm end product.
The 35 mm 8 perforation Technirama horizontal camera film is what Kubrick used
and then optically enlarged to 70 mm 5-perf prints for deluxe exhibition.
Large format 35mm original film elements is what the film was shot on and that's direct from universal
and then optically enlarged to 70 mm 5-perf prints for deluxe exhibition.
Large format 35mm original film elements is what the film was shot on and that's direct from universal
Paul, you are reading stuff from a manual. I am telling you from experience. There is a vast gulf between those two things!
In the simplest terms possible Technirama is a production process whereby you put 35mm blank stock in, and what you extract is to all intents and purposes 70mm.
It is NOT 'blown up', or 'optically enlarged' in any way shape or form. It comes out 70mm - and was show thus in cinemas equipped with suitable projection equipment
Oh, and the film, isn't 'technirama' The process used in filming is Technirama. The film stock actually placed in the camera was standard 35mm
i just watch this for first time ever...great production, but i couldnt stand the score and the movie is long and slow, the steelbook is not great either, its cheap but i will pass.....
USA Blu-ray has
BD-50
Aspect Ratio: 2.20:1
Rating: PG-13
Languages: English DTS-HD MASTER AUDIO 7.1; French DTS Digital Surround 5.1Subtitles: English, Spanish and French
Run Time: 3 Hours 17 Minutes
The Disc from Italy will also have Italian audio
BD-50
Aspect Ratio: 2.20:1
Rating: PG-13
Languages: English DTS-HD MASTER AUDIO 7.1; French DTS Digital Surround 5.1Subtitles: English, Spanish and French
Run Time: 3 Hours 17 Minutes
The Disc from Italy will also have Italian audio
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That's what I just told you the 4K restoration used the original film stock 35mm (Large format 35mm original film elements)
The 35 mm 8 perforation Technirama horizontal camera film is what Kubrick used
Film Negative:35 mm (horizontal) (Eastman 25T 5248, 50T 5250)
Cinematographic Process:
Super Technirama 70 (anamorphic)
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Film Negative:35 mm (horizontal) (Eastman 25T 5248, 50T 5250)
Cinematographic Process:
Super Technirama 70 (anamorphic)
This is what they used to make the film
From this Universal have done a 4K restoration using the original film elements
Spartacus was not shot on 70mm Film
It was shot on 35 mm (horizontal) (Eastman 25T 5248, 50T 5250) = Original Film Elements
using a 35 mm 8 perforation Technirama horizontal camera
From this they then printed
Film Prints:
35 mm
70 mm
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Paul, I've told you over and over. And all you do is throw something at me that you plainly don't understand. You certainly don't understand the process involved.
Look, let's try again. You load standard 35mm film into the camera which in this case runs sideways and at 180ft/min - this in effect creates 70mm film on the cheap. The end result s a 70mm print that, to show in most cinemas, was squeezd down to a standard 35mm widescreen.
This I know Paul, not because I read it; it's called experience. sorry mate.
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You quoted this The film was shot on 70mm
They used 35mm Film not 70mm film and the 4K restoration is from Film Negative:35 mm (horizontal) (Eastman 25T 5248, 50T 5250)
Film Elements and Film Prints is 2 different things
Yes there was 35mm 70mm prints for the cinemas but that was created from the 35mm Negative which they used in 35 mm 8 perforation Technirama horizontal camera
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Paul, your talking about things you don't know about.
I'm sorry mate, You can quote stuff until you're blue in the face, but it stil won't make you understand what you're talking about - you need to understand the process.
I came back to try to explain it yet again, in laymans terms, but you've just jumped in anyway.
Go back, re-read, and inwardly digest please - and don't spout semanticsat me please.
OK tell me what was the film shot on 35mm or 70mm Film
Restoration of a film which is best to use a original film master or a film print from that original negative
The 4K restoration used the original film master large format 35mm elements
The Blu-ray will have new extensive restoration
Newly restored from large format 35mm original film elements,
4K restoration Aspect Ratio: 2.20:1
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For those that might be confused about previous discussions 
Newly restored from large format 35MM original film elements
The Super Technirama process used horizontal 8-perf 35mm film camera with 35mm film which gives a ultra-high definition to capture large panoramic scenes giving you a Super Technirama 70 (anamorphic) image similar to what you would have with films shot using 65mm/70mm film but is cheaper than using Ultra Panavision camera
Cinemas back in 1960 had 35mm prints and the 70mm prints created from the film large format 35MM original film elements negative depending on the cinema needs and ability to show 35mm or 70mm
The 2015 Spartacus 4K film restoration used the original film 35mm film elements which is where 35mm and 70mm prints came from in 1960 shown in the cinemas
How good this restoration is will just have to wait and see but it will be lot better than the previous blu-ray
4K Restoration was done by Robert Harris and most reports so far say its an amazing restoration
This is a direct response from Robert Harris as to what source was used to do the new Blu ray
Question
Did they start with your 70mm restoration, or go back to the original elements?
Answer
We returned to the original (Large Format 35MM Original Film Elements) 8-perf negative, masters, and other surviving production elements.
Here is a sample from the Blu-ray
2015 Blu-ray
2010 Blu-ray
2015 Blu-ray
2010 Blu-ray
Newly restored from large format 35MM original film elements
The Super Technirama process used horizontal 8-perf 35mm film camera with 35mm film which gives a ultra-high definition to capture large panoramic scenes giving you a Super Technirama 70 (anamorphic) image similar to what you would have with films shot using 65mm/70mm film but is cheaper than using Ultra Panavision camera
Cinemas back in 1960 had 35mm prints and the 70mm prints created from the film large format 35MM original film elements negative depending on the cinema needs and ability to show 35mm or 70mm
The 2015 Spartacus 4K film restoration used the original film 35mm film elements which is where 35mm and 70mm prints came from in 1960 shown in the cinemas
How good this restoration is will just have to wait and see but it will be lot better than the previous blu-ray
4K Restoration was done by Robert Harris and most reports so far say its an amazing restoration
This is a direct response from Robert Harris as to what source was used to do the new Blu ray
Question
Did they start with your 70mm restoration, or go back to the original elements?
Answer
We returned to the original (Large Format 35MM Original Film Elements) 8-perf negative, masters, and other surviving production elements.
Here is a sample from the Blu-ray
2015 Blu-ray
2010 Blu-ray
2015 Blu-ray
2010 Blu-ray
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Look Paul.
Simple terms yet again: You load standard 35mm film into a special camera which runs sideways and runs at non-standard speed, , utilizing a special lens, and results in a 70mm print..
In effect as soon as you begin to use your 35mm blank stock in this manner in this special camera it becomes to all intents and purposes 70mm.
The only way you get a 35mm film element from that is by reducing it from the original 70mm which comes from the camera after filming.
I told you umpteen times, it is a bastardised way of making 70mm film on the cheap, but with remarkably good results, and it transmutes 35mm into 70mm in the filming process.
If they used a 35mm film element in the restoration, then they did NOT use the original negs as taken from the camera after filming; they used a reduction from that original.That should be clear to anyone who understands the process, or is willing to listen and learrn.
But, that's not what was actually done in the restoration process anyway!
So for Paul Boland and anyone else taken in by the ill-informed, and misunderstood nonsense he has put forward, here goes:
This info comes direct from the British Film Instutute archive. I delved in this morning just to be certain.
The film was restored using the 'seps'. - the Black and White Separation Masters which are
made at the time of production for the few films judged important as it costs the earth to do.
'Seps' production is a matter of exposing black and white fine grain stock through first yellow, then cyan, and finally magenta filters. Creating three prints - one for each filter colour.
The three prints are then combined and exposed through the original three filter colours and voila, a perfect copy of the original print with the colours captured as in aspic..
The 'seps' were originally produced as a backup to the original negative for those 'important' films in case anything was lost in the production process.
Now, as you might imagine due to the sheer cost, and time element - about 1,000 hours just to put a workable neg together for test purposes, no other film has ever been restored in this manner. so credit to Universal for persevering.
So the three 'seps' separations were recombined and the combined dupe neg duly transferred to 65mm at one and the same time.
The resultant 65mm Preservation Comp Negative was produced by RGB Optical.
It goes on and on. But, as you can see above, it most certainly was NOT restored from 'original 35mm film elements'!
Plus, if you really need to know, there is only one known 35mm original neg copy which is in private hands and is in bad shape anyway. (Universal inspected and rejected it over 20 years ago) and you can't restore from what does NOt exist, despite some people's protestations.
But any 35mm print, original or not is only an original 'reduction' of the original 70mm neg which was first produced (and now reproduced for the restoration as explained above), and in the format it was intended to be seen.
On the Technirama process what happens is that the film runs horizontally through a VistaVision type camera utilizing a special lens (which no longer exists, and had to be specially made up for the restoration test showings in Technirama format, before the next phase of restoration was begun in earnest) at 180 ftpm- this results in a neg area twice the size of a comparable 35mm neg (as per VistaVision) etc.
What is produced rorm this is a 70(65) mm neg. Any 35mm neg as stated previously is a 'reduction' from that and understandably of lesser quality.
Somewhere along the line one would expect a certain party will hold his hands up and say he was naive and taken in elsewhere. . . . . . . .
edited for typos.
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