Making movies -
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Published on: 9/27/2004
Last Visited: 3/12/2009
Some audience members even ask the inventor, Robert C. Weisgerber, and the producer of the film, Barrie O'Brien, if they can see it again.
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The footage and projection system, called Super Dimension-70ä, developed by Weisgerber, is perhaps one of the most revolutionary inventions in the film business in years.
And that's causing some in the movie industry to take notice.
In an era of teen flicks and cookie-cutter cineplexes, Weisgerber has re-invented the movie reel.
At the same time, he's brought back a sense of magic long gone from the movies today; that the experience of how audiences see a movie can be just as important as the movie itself.
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Robert Weisgerber & Barrie O'Brien
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Weisgerber saw the decline of cinematic presentation and decided, with some tinkering in the lab, perhaps he could build a better mode of movie delivery.
Robert Weisgerber & Barrie O'Brien
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"As a media person and as a filmgoer, I found that there was a certain lack of entertainment value needed in the filmed marketplace, meaning that content is king," says Weisgerber, who is the CEO and President of Super Vista Corporation, the company behind Super Dimension-70, a.k.a. SDS-70.
He, along with Vice President and producer, Barrie O'Brien, set out to develop a production and theatrical system which substantially improved the way audiences see and experience movies.
If digital sound improved how audiences hear movies in the theatre, why shouldn't the picture be improved, too?
"The important aspect of the process was to raise the bar of cinematography and exhibition so high, that whether my mother or grandmother came to the movie theatre or a big name studio-head came, they would be impressed with what they saw.
Not just because it was big, but because it was sharp, clear and dimensional," says Weisgerber.
Weisgerber figured that the root of the pictorial problem lay in the production and projection systems themselves.
Why not go with bigger film, 70mm, and tweak it?
Pooling his extensive broadcasting experience and resources together, Weisgerber first built a projector.
The first plan on his agenda with this new projector was to eliminate problems normally associated with film: flicker, weaving back and forth and strobing.
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And this was nobody to slouch at," says Weisgerber.
We Live In A Digital World
But why all the fuss over old-fashioned technology?
Isn't digital cinema, with its bits and bytes, ones and zeroes, the wave of the future?
Won't it give audiences crisp, flicker and scratch-free pictures?
And after all, didn't George Lucas shoot "Star Wars:Episode II - Attack of the Clones," his next "Star Wars" space opera, on new-fangled digital camcorders?
Weisgerber and O'Brien have their work cut out for them.
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Weisgerber and O'Brien's business plan seems to be beneficial to both the studios and exhibitors with Super Dimension-70.
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Exhibitors would not have to buy a SDS-70 projection system, according to Weisgerber.
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In a way, it's David versus Goliath, with Weisgerber and O'Brien showing the industry that money can be made with a super film format, at virtually little cost to the studios and exhibitors.
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I think that if you improve the experience, I think you'll tap into age groups that normally don't go to the movies," says Weisgerber.
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Special thanks to Robert C. Weisgerber and Barrie O'Brien
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