LFCA Conference And Film Festival A Success By Bill Kallay
Delegates from every corner of the large format industry converged on Los Angeles recently. Members of the Large Format Cinema Association (LFCA) attended the 2nd Annual Conference & Film Festival on May 19-21, 1999. The first and second day activities were held at the newly renovated California Science Center at Exposition Park, just a few miles away from Downtown L.A. Day number threeís events were held at the Academy of Television Arts & Sciences beautiful 600 seat theatre, and Closing Gala festivities were held at the restored Graumanís Egyptian Theatre in Hollywood. Through fast paced scheduling of seminars, large format showings, tributes and good food, delegates had days full of information on the large format industry. The LFCA, comprised of filmmakers, commercial and institutional exhibitors, distributors and manufacturers, is an industry entity devoted to both business and public awareness of the large format. This includes films shot and shown in 70mm/5 perf, 70mm/8 perf, 70mm/15 perf and other formats within that scope. Prominent corporate participants included IMAX, Iwerks Entertainment, Imagica USA, Inc, DTS, Eastman Kodak, CFI Laboratories, MegaSystems and numerous others. Many issues over the future of the large format loomed over the three-day conference. On opening night, members were greeted by members from the Mexican/American community, LAPD officers and police helicopters circling the museum. The protesters marched under a banner advertising the IMAX film, ""Everest."" Fortunately, they werenít protesting the LFCA or ""Everest,"" but rather a visit from California Governor Gray Davis and the President of Mexico. Since the two dignitaries were inside of the main hall of the museum, LFCA members had to wait outside for a while. Once the government officials and their security entourages were out, members were escorted into the hall for a delicious dinner and wine. Members were then afforded the opportunity to meet some new people in LFCA and rekindle past business relationships. Once the dinner reception was over, everyone walked over to the new IMAX 2D/3D theatre for a Kodak Vision Award presentation and two IMAX film showings. The late Noel Archambault was awarded the Kodak Vision Award for Large Format Cinematography. A talented filmmaker, Archambault shot numerous IMAX films, including ""Into The Deep,"" ""Rolling Stones: At the Max,"" and ""T-Rex: Back To The Cretaceous."" Before his death, Archambault edited a reel of his work over the years, all of it impressive and moving. His father, who related stories of Noelís interest in filmmaking from an early age, accepted the award on his sonís behalf. Noel was killed in a helicopter accident in 1998 while filming a new IMAX 3D film, ""Galapagos: The Enchanted Voyage."" The night ended with showings of two new IMAX films, ""Island Of The Sharks"" and ""Olympic Glory."" ""Island Of The Sharks"" immersed viewers into the world of hammerheads, manta rays, and boobies (island birds) through narration by actress Linda Hunt. Meanwhile, the 1998 Nagano Winter Olympic Games thrust viewers down bobsled runs through the human spirit of competition in ""Olympic Glory."" Producer/Director Frank Marshall was on hand to introduce the film, which featured skier Picabo Street. Day two started early with the showing of ""La Patrouille de France"", a short film about Franceís version of the Blue Angels flight team. ""Mysteries Of Egypt,"" starring Omar Sharif, followed. The film used a 2:2:1 aspect ratio on the IMAX screen in a flashback sequence, giving the film a Super Panavision 70 look. After the films concluded, a technical session ensued, offering attendees glimpses at film stock tests in the 70mm/15 perf format. If you thought that IMAX movies were sharp, try seeing prints struck off the original camera negative. IMAX movies shown around the world are struck from duplicate negatives and occasionally digital negatives. The image quality of the dupes isnít severely degraded after being printed down, but there is a difference. The audience was impressed by the clarity of the original prints, culled from a bicycling scene in ""Everest."" One of the arguments in the industry is over aspect ratios. The huge IMAX 1.33:1 frame has been an industry standard since its inception in the 1970s. But with the growth of commercial large format theatres in multiplex cinemas recently, as well as major studio interest in the format, some directors and cinematographers are toying with multiple ratios. LFCA President Christopher Renya told the attendees that Disneyís ""Fantasia 2000"" and DreamWorksí ""Shrek"" will be released in IMAX, but in a 1.66:1 aspect ratio. The image will be letterboxed on the top and bottom of the screen. Some industry insiders are opposed to any letterboxing, arguing that would defeat the purpose of IMAXís large screen. But others in attendance said that the wide aspect ratios, i.e. on ""Mysteries Of Egypt,"" did not delude from the IMAX screen, but rather, enhanced it and gave viewers a more pleasing picture to look at. The LFCA held its general meeting to discuss business and vote for officers. This was followed by a keynote address from Harrison A. Price, a respected economic consultant in the amusement park and special venue industries. Attendees then watched the IMAX short, ""MORE,"" and Discovery Channel Picturesí ""Wildfire: Feel The Heat."" Panelist Rob Hummel of DreamWorks was one of six participants on Business Of The Business. He has been a supporter of the large format for many years and let the audience in on a juicy tidbit; DreamWorks co-founder Jeffrey Katzenberg loves the large format. DreamWorks is seriously looking into the field. Perhaps in addition to ""Shrek,"" we could see more IMAX features. Mr. Hummel wouldnít elaborate any further on DreamWorksí plans for IMAX, due to the fact he had tickets for ""Star Wars."" Hereís to wishing Steven Spielbergís arm will be twisted enough by Mr. Hummel and Mr. Katzenberg to make something in IMAX. No more of this flat 35mm, flat 1.85:1 stuff, Mr. Spielberg, please! The second day concluded with showings of ""Extreme,"" ""Wolves,"" and the Iwerks 3-D spectacular, ""Encounter In The 3rd Dimension."" The evening closed with Ron Frickeís classic IMAX film, ""Chronos."" The final day of the conference focused on the 8/70 format, a smaller and more affordable system for showing large format films. The format, which is gaining popularity in commercial and institutional venues, uses 8 perfs of film instead of 15 perfs shot on 65mm film negative. The result is a smaller use of film, but the aspect ratio of IMAX and Iwerks is still utilized. Presentations of 8/70 print-downs were shown with ""Olympic Glory"" and ""Wolves."" A temporary screen was installed at the Television Academy of Arts and Sciences, offering attendees a shrunken experience from normal venues with large screens. A panel discussion over the future of the large format in commercial and institutional industries ensued. As with many panelists at the conference, there is a rising concern on what kind of films will be shown at all large format theatres. Institutional exhibitors, such as museums and science centers, mainly show educational films to the public. With commercial multiplex chains getting into the large format business, museum directors fret over the commercialization of product they can show. It is no secret that most IMAX and Iwerks films always have an educational slant. Yet, Disneyís ""Fantasia 2000"" may have a lasting effect on the industry by large. Films could get more commercial; museums have to decide whether to book a ""Fantasia 2000"" all-day or just in the evening hours; exhibitors face the dilemma of tough booking policies, as with the case on Disney. On the other hand, commercial theatres showing large format films are taking on a great expense. Just to build a large format auditorium in a multiplex is the most costly portion of a project. Booking ""Fantasia 2000"" for four months in an IMAX theatre can also cost a multiplex lost revenue, when a film like ""Everest"" or ""Extreme"" can potentially pull in larger numbers. Disneyís experiment will be scrutinized on all fronts. Despite the future looming on the large format horizon, commercial and institutional are pressing on with elaborate plans. The COSI of Columbus, Ohio is building a massive institutional special venue complex on riverfront property. Through a mix of private and public funding, COSI will feature an Iwerkís Extreme Screen 8/70 theatre, a Digistar digital theatre, a Cimex 30-seat ride simulator, a Lightspeed laser 3-D theatre and a live performance theatre. Commercially, national theatre chain Cinemark is embarking on expansion. They are building 13 IMAX theatres in their multiplexes this year. The day ended with a moving tribute to Lestor Novros, a pioneer in large format. Novros worked on Walt Disneyís ""Snow White"" and ""Fantasia"" before moving on to start Graphic Films. His company produced numerous industrial shorts, way before they were prevalent. Graphic Films was a breeding ground for such filmmakers as Irv Kirschner, Douglas Trumbull and Hal Barwood. Novros taught at the University of Southern California (USC), influencing a filmmaker named George Lucas, while working in the large format. Novros produced the 65mm ""To The Moon And Beyond"" for the 1964 New York Worldís Fair and moved on to write and direct films in IMAX. LFCA conference members were treated to a few other goodies. The organization had worked on an excellent restoration of 3-D Plymouth car ""commercial"" (Motor Rhythm) from 1939. But it was clips from the ""Spiderman"" ride at Islands of Adventure theme park that blew everyoneís socks off. Director Scott Trowbridge discussed various clips of the spectacular ride visuals. He called them a collection of favorite shots from the ride/film. Spiderman battles various villains in a thrilling showdown that makes ""Star Tours"" look like a merry-go-round ride. Once everyone was thrown off a high story building to the street below, the clips stopped and everyone said ""uhhhh."" Comic books never looked so good. The conference concluded with a showing of ""Lawrence Of Arabia"" in 70mm at the restored Graumanís Egyptian Theatre. The LFCA is a non-profit organization dedicated to the large format. If you love 70mm, LFCA is a great place to meet other people with similar interests. The conference is well worth the price of admission. Individual memberships cost only $50. For more information, phone 209 477 2726, or write LFCA, 8436 Colonial Drive, Stockton, California 95209-2319, or reach them on the Web at www.lfca.org.