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Todd-AO

Industry	Post-production,broadcast media,motion pictures,television
Founded	1953
Headquarters	Hollywood, California, U.S.
Owner	Todd Soundelux
Website	toddao.com

Todd-AO is an Americanpost-production company founded in 1953 byMike Todd andRobert Naify, providing sound-related services to the motion picture and television industries. The company retains one facility, in theLos Angeles area.

Todd-AO is also the name of the widescreen,70 mm film format that was developed by Mike Todd and the Naify brothers, owners ofUnited Artists Theaters in partnership with theAmerican Optical Company in the mid-1950s. Todd-AO had been founded to promote and distribute this system.

Todd-AO began as a high resolutionwidescreenfilm format. It was co-developed in the early 1950s byMike Todd, aBroadway producer, andUnited Artists Theaters in partnership with the American Optical Company inBuffalo, New York.^[1] It was developed to provide a high definition single camera widescreen process to compete withCinerama, or as characterized by its creator, "Cinerama outta one hole." Where Cinerama used a complicated setup of three separate strips of film photographed simultaneously, Todd-AO required only a singlecamera andlens.

The company's focus began to shift after Mike Todd's sudden death in an airplane accident in 1958.^[2] The 70 mm Todd-AO process was adopted by Panavision, Cinerama and others. As the production and exhibition markets became saturated with Todd-AO System hardware, the focus of the company gradually began to narrow to the audio post-production side of the business, and Todd-AO became an independent sound mixing facility for commercial motion picture films and television after acquiringGlen Glenn Sound in 1986.

In May 2014, Todd-AO's parent company,Todd Soundelux, filed forChapter 11 bankruptcy protection.^[3] As part of the bankruptcy proceedings, the company closed its Hollywood and Santa Monica facilities, leaving only their Burbank location operational.^[4]

On November 17, 2014,Sounddogs acquired the Todd-Soundelux trademarks (Todd AO and Soundelux) and copyrights (Sound Effects Library) through federal bankruptcy court (Central District Case No. 2:14-bk-19980).^[5]

The Todd-AO process uses two separate film stocks; a 65 mmnegative is used during production and then used to produce the70 mm positives for distribution. The sprocket holeperforations on the two are the same, and the positives are printed using contact printing with the negatives centered on the larger 70 mm film. Contact printing was used on prints that were to be "double system", using a separate, synchronized 35 mm full-coat magnetic film for the 6 sound tracks, in addition to the 70 mm film for the picture. The much more common 70 mm release prints used a slightly optically reduced picture, and placed four of the soundtracks on either edge outside of the perforations, and two more soundtracks inside the perforations, providing a total of six soundtracks, on a 7.5 mm magnetic surface. Todd-AO soundtracks were very high fidelity, and could still compete with modern digital tracks above 40 kHz. Even though there were nosubwoofers in theaters in those days, Todd-AO delivered high-impact bass using crisp-sounding horn-loaded speakers. Four lens options covered a 128, 64, 48 or 37 degree field of view. Theaspect ratio of this format was 2.20:1.

Both film sizes had been used in the past, in the70 mm Fox Grandeur process in 1929–1930, but Todd-AO's physical format was not compatible with this format. The use of 65 mm photography and 70 mm printing became the standard adopted by others:Super Panavision 70 (essentially the Panavision company's version of Todd-AO) andUltra Panavision 70 (the same mechanically, but with a slight 1.25:1anamorphic squeeze to accommodate extremely wide aspect ratio images) are both 65/70 processes. The Soviet film industry also copied Todd-AO with their own Sovscope 70 process, identical, except that both the camera and print stock were 70 mm wide.

TheIMAX format also uses 65 mm camera and lab film to create 70 mm prints for projection (also known as the 65/70 mm process); conforming to the pitch and perforation standard for 70 mm Todd-AO film. However, the IMAX frame is 15 perfs wide and runs horizontally through the projector, whereas the Todd-AO frame is only 5 perfs high and runs vertically through the projector.^[6]

The original version of the Todd-AO process used a frame rate of 30 frames per second, faster than the 24 frames per second that was (and is) the standard. The difference does not seem great, but the sensitivity of the human eye to flickering declines steeply with frame rate and the small adjustment gave the film noticeably less flicker, and made it steadier and smoother than standard processes. The original system generated an image that was "almost twice as intense as any ever seen onscreen before, and so hot that the film has to be cooled as it passes through theTodd-AO projector".^[7]

Only the first two Todd-AO films,Oklahoma! andAround the World in Eighty Days, employed 30 frames per second photography. Because of the need for conventional versions at 24 frames per second, every scene of the former film was shot twice in succession: once in Todd-AO and once in 35 mm CinemaScope. The latter film was shot with two 65 mm Todd-AO cameras simultaneously, the speed of the second camera was 24 frames per second for wide release as optical reduction prints. All subsequent Todd-AO films were shot at 24 frames per second on a 65 mm negative and optically printed to 35 mm film as needed for standard distribution.^[8] In all, around 16 feature films were shot in Todd-AO.

Todd-AO was developed and tested in Buffalo, New York, at the Regent Theatre.Richard Rodgers andOscar Hammerstein II went there to see Todd-AO test footage, which led them to approve its use forOklahoma!.Ampex Corporation engineers were in charge of developing the Todd-AO sound system. Ampex would later go on to manufacture the sound system, including selectable four-track composite (CinemaScope), six-track composite (Todd-AO), four-track interlocked, six-track interlocked or optical sound sources.

The Todd-AO Company also offered a 35 mm anamorphic process technically similar to 35 mm Panavision or CinemaScope. This may cause some confusion if a Todd-AO credit (not necessarily the more specific Todd-AO 35 credit) appears in some widescreen films made in the 1970s and 1980s. It becomes even more confusing as 70 mm prints were made for films which, unlike earlier pictures made in the process, were shown in multiplexes, likeDune andLogan's Run.

During the late 1970s through the early 1990s, 65 mm photography such as that used in processes like Todd-AO or Super Panavision became rare. However, some major films had 70 mm prints made by blowup from 35 mm negatives mostly for the benefit of six-track sound. These prints would typically play only in a few theatres in a few large cities while everyone else viewed the film in 35 mm. The advent of multichannel digital sound in the 1990s obviated these very expensive prints. "Blow-up" 70 mm prints also followed the Todd-AO layout, although in the case of films made with a 1.85:1 aspect ratio, it was retained in the 70 mm version, with the sides of the 70 mm frame left black.

While Todd-AO was intended to be "Cinerama out of one hole", the extreme wide-angle photography and projection onto a very deeply curved screen (which is what that would imply) saw little use. Most Todd-AO theatre installations had only moderately curved screens and the extreme wide-angle camera lenses were used only on a few shots here and there. Todd-AO films made after 1958 used a conventional flat widescreen, and resembled ordinary films, except for their greater clarity and six-track stereo sound. A variation on Todd-AO called Dimension 150 did, however, make use of Cinerama-like deeply curved screens. Only two films were made in Dimension 150 –The Bible: In the Beginning..., directed byJohn Huston, andPatton, starringGeorge C. Scott. In some venues, however, Todd-AO and Dimension 150 films received their first run in Cinerama theatres in order that they be shown on a deeply curved screen – such as the firstAtlanta showings ofThe Sound of Music.^[9]

Todd-AO films were closely associated with what was calledroadshow exhibition. At the time, before multiplex theatres became common, most films opened at a large single screen theatre in the downtown area of each large city before eventually moving on to neighborhood theatres. With the roadshow concept, a film would play, often in 70 mm at amovie palace downtown theatre exclusively, sometimes for a year or more. Often a "hard ticket" policy was in effect, with tickets sold for specific numbered seats, and limited showings per day. Most Todd-AO films through the late 1960s, includingThose Magnificent Men in Their Flying Machines andThe Sound of Music, were initially shown on a roadshow basis.

In some US cities, individual theaters were converted for use in the 1950s as dedicated Todd-AO "Cinestage" showplaces. These theaters showed exclusive roadshow engagements of Todd-AO and other 70 mm films on large, deeply curved screens. They included the Rivoli Theatre in New York City,^[10] theCinestage Theatre in Chicago^[11] and Hunt's Cinestage Theatre inColumbus, Ohio.^[12]

The roadshow era ended in the early 1970s, although a very few films (among themGandhi) were shown in roadshow format after that.

In the 1970s, under the leadership of Dr. Richard Vetter, Todd-AO made an attempt to compete withPanavision in the35 mm motion picture camera rental market. The company built a series of anamorphic lenses in the 2.35:1 scope format, and owned several camera bodies (Mitchell and Arriflex) that they would provide with the lens package. Films produced in Todd-AO 35 includeConquest of the Planet of the Apes,Conan the Barbarian,Mad Max,Dune andLogan's Run.^[13]

By the mid 1980s the venture was moribund, and was finally abandoned in 1992. Eventually all of the Todd-AO cameras and lenses, both 35 mm and 65 mm (70 mm), were sold to Cinema Products in Los Angeles. The 35mm anamorphic lenses are now in the rental inventory of Keslow Camera.

• 1953:Mike Todd, theNaify brothers and the American Optical Company form a joint venture called Todd-AO for the purpose of developing and distributing a large film format presentation system which incorporates a wide, curved screen with multi-channel sound.
• 1955 and 1956: Mike Todd produced two films which feature the new Todd-AO system.
• 1958: Mike Todd is killed in a plane crash.
• 1960s and 1970s: Although several blockbuster films were produced using the Todd-AO or Panavision versions of the 5-perf 70 mm format, market penetration of the Todd-AO system lost momentum, and is overtaken by the development of IMAX in the 1970s.
• 1986: AcquiredGlen Glenn Sound.
• 1987: Acquired the Trans/Audio sound studio in New York City
• 1994: Acquired Film-Video Masters, Inc.
• 1995: AcquiredSkywalker Sound South studios fromGeorge Lucas in Santa Monica
• 1995: Purchased Chrysalis Television Facilities and its satellite transmission from theChrysalis Group
• 1996: AcquiredPacific Title and Art which brought specialization in the production of film, title, and optical special effects as well as digital services for motion pictures
• 1996: Acquired Editworks, which specialized in commercial advertising in Atlanta, expanded Todd-AO’s geographic connections
• 1997: Acquired International Video Conversions in Burbank
• 1997: Purchased Hollywood Digital Company
• 1998: Acquired Pascal Video to address the potential market in Digital Versatile Disk (DVD) technology. Todd-AO Video Services DVD, Inc. was created for the conversion of film and video content to DVD format
• 1999: Acquired SoundOne Corporation in New York City
• 1999: Purchased 50% of 103 Estudio in Barcelona
• 1999: Todd-AO acquired by Liberty Media Group, a division ofAT&T, and became part of its Liberty Livewire entity.
• 2002: Liberty Livewire renamed Ascent Media Group.
• 2005: Ascent Media Group spun-off from owner, Liberty Media, intoDiscovery Holding Company.
• 2007: Discovery Holding Company announced a restructuring plan where it intended to spin off its interest in Ascent Media and combine Discovery Communications with Advance/Newhouse Communications into a new holding company.^[14] The reorganization was completed on September 17, 2008.
• 2007: The Todd-AO Scoring Stage closed.^[15]
• 2008: "Creative Sound Services" division of Ascent Media Group was spun-off from Discovery Holding Company to create CSS Studios, LLC, to become a wholly owned subsidiary ofDiscovery Communications. This transaction included the assets of Todd-AO, Soundelux, Sound One, POP Sound, Modern Music, Soundelux Design Music Group and The Hollywood Edge.^[16]
• 2012: CSS Studios, LLC is acquired by Empire InvestmentHoldings, which files bankruptcy for Todd Soundelux in May 2014.
• 2014: (May) Todd Soundelux files for bankruptcy, closing its Hollywood and Santa Monica facilities.^[4]
• 2014: (November) Sounddogs acquires the Todd-Soundelux Trademarks (Todd AO and Soundelux) and Copyrights (Sound Effects Library)^[5]

(films photographed in Todd-AO 35 not included)

• Oklahoma! (1955) – 30 frame/s (also photographed in CinemaScope for conventional distribution)
• Around the World in Eighty Days (1956) – 30 frame/s (also photographed in Todd-AO 24 frames/s and reduction-printed for conventional CinemaScope distribution)
• The Miracle of Todd-AO (1956) – 30 frame/s; short subject
• South Pacific (1958) – this and all subsequent were 24 frame/s
• The March of Todd-AO (1958) – short subject
• Porgy and Bess (1959)
• Can-Can (1960)
• The Alamo (1960)
• Scent of Mystery (1960) – credited as Todd 70
• Cleopatra (1963)
• Man in the 5th Dimension (1964) – NYC World's Fair short subject
• The Sound of Music (1965)
• Those Magnificent Men in Their Flying Machines (1965)
• The Agony and the Ecstasy (1965)
• The Bible: In the Beginning (1966) – Dimension 150 variant
• Doctor Dolittle (1967)
• Star! (1968)
• Hello, Dolly! (1969)
• Krakatoa, East of Java (1969) – selected scenes (seeSuper Panavision 70) – presented in 70 mmCinerama
• Airport (1970)
• Patton (1970) – Dimension 150 variant
• The Last Valley (1971)
• Moonwalk One (1971)^[17]
• Baraka (1992)

• 70 mm film)
• Cinerama
• Glen Glenn Sound
• List of 70 mm films
• List of film formats
• Philips DP70—the theater projector developed as part of the Todd-AO system
• Super Panavision 70
• Super Technirama 70
• Ultra Panavision 70

• Todd-AO official site
• Internet Movie Database listing of films shot in Todd-AO
• Todd-AO information from in70 mm.com
• WideScreen Museum history of Todd-AO
• Todd: "Cinerama outa one hole"
• Journal of Film Preservation No. 56 on page 19:
• The history of the Todd-AO projector, known as the DP70

• Mass media companies established in 1953
• Film and video technology
• Motion picture film formats
• 1953 establishments in California
• Recipients of the Scientific and Technical Academy Award of Merit

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