Todd-AO

Todd-AO

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

Todd-AO is an American post-production company founded in 1953 by Mike Todd and Robert Naify, providing sound-related services to the motion picture and television industries. The company retains one facility, in the Los 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 of United Artists Theaters in partnership with the American Optical Company in the mid-1950s. Todd-AO had been founded to promote and distribute this system.

History

Todd-AO began as a high resolution widescreen film format. It was co-developed in the early 1950s by Mike Todd, a Broadway producer, and United Artists Theaters in partnership with the American Optical Company in Buffalo, New York. ^[1] It was developed to provide a high definition single camera widescreen process to compete with Cinerama, 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 single camera and lens.

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 down 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 acquiring Glen Glenn Sound in 1986.

In May 2014, Todd-AO's parent company, Todd Soundelux, filed for Chapter 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]

Todd-AO process

Figure 1. Todd-AO: 65 mm negative and 70 mm positive

The Todd-AO process uses two separate film stocks; a 65 mm negative is used during production and then used to produce the 70 mm positives for distribution. The sprocket hole perforations 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. It is a common error to suppose that only 5 mm of space was devoted to the soundtracks, perhaps because writers do the math and find that 70 - 65 = 5, not allowing for a slightly reduced picture area to accommodate two tracks inside the sprocket holes, as well as four outside, and perhaps because the souvenir program for Around the World in Eighty Days made the same error. Anyone with a release print in front of them would immediately see the tracks between the picture and the holes, as well as the wider tracks (to hold two tracks each) outside the holes. They can be seen in Figure 1 of this article, above the caption "positive 70 mm". Todd-AO soundtracks were very high fidelity, and could still compete with modern digital tracks above 40 kHz. Even though there were no subwoofers 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. The aspect ratio of this format was 2.20:1.

Both film sizes had been used in the past, in the 70 mm Fox Grandeur process in 1929–1930, however 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) and Ultra Panavision 70 (the same mechanically, but with a slight 1.25:1 anamorphic 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.

The IMAX 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 long 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 the Todd-AO projector". ^[7]

Only the first two Todd-AO films, Oklahoma! and Around 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 and Oscar Hammerstein II went there to see Todd-AO test footage, which led them to approve its use for Oklahoma!. 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, like Dune and Logan'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.

Curved screen vs. flat

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 by John Huston, and Patton , starring George 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 first Atlanta showings of The Sound of Music . ^[9]

Todd-AO and roadshows

Todd-AO films were closely associated with what was called roadshow 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 a movie 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, including Those Magnificent Men in Their Flying Machines and The 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] the Cinestage Theatre in Chicago ^[11] and Hunt's Cinestage Theatre in Columbus, Ohio. ^[12]

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

Todd-AO 35

In the 1970s, under the leadership of Dr. Richard Vetter, Todd-AO made an attempt to compete with Panavision in the 35 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 include Conquest of the Planet of the Apes , Conan the Barbarian , Mad Max , Dune and Logan's Run . ^[13]

By the mid 1980s the venture was moribund, and was abandoned. 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.

Timeline

• 1953: Mike Todd, the Naify 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 & 56: 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: Acquired Glen Glenn Sound.
• 1987: Acquired the Trans/Audio sound studio in New York City
• 1994: Acquired Film-Video Masters, Inc.
• 1995: Acquired Skywalker Sound South studios from George Lucas in Santa Monica
• 1995: Purchased Chrysalis Television Facilities and its satellite transmission from the Chrysalis Group
• 1996: Acquired Pacific 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 of AT&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, into Discovery 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 of Discovery 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 produced in 70 mm Todd-AO

(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 (see Super Panavision 70) – presented in 70 mm Cinerama
• Airport (1970)
• Patton (1970) – Dimension 150 variant
• The Last Valley (1971)
• Moonwalk One (1971) ^[17]
• Baraka (1992)

Awards

Feature film

Year	Award	Category	Type	Title	Honorees
2013	BAFTA Award	Best Sound	Nominated	Django Unchained	Wylie Stateman, Michael Minkler, Tony Lamberti, Mark Ulano
2009	Academy Award	Best Sound Mixing	Nominated	Inglourious Basterds	Michael Minkler, Tony Lamberti and Mark Ulano
2007	Academy Award	Best Sound Mixing	Won	The Bourne Ultimatum	Scott Millan, David Parker and Kirk Francis
2006	Academy Award	Best Sound Mixing	Won	Dreamgirls	Michael Minkler, Bob Beemer and Willie D. Burton
2006	BAFTA Award	Best Sound	Nominated	Babel	José Antonio García, Jon Taylor, Christian P. Minkler, Martín Hernández
2006	BAFTA Award	Best Sound	Nominated	Crash	Richard Van Dyke, Sandy Gendler, Adam Jenkins, Marc Fishman
2005	BAFTA Award	Best Sound	Nominated	Collateral	Elliott Koretz, Lee Orloff, Michael Minkler, Myron Nettinga
2004	BAFTA Award	Best Sound	Nominated	Kill Bill: Volume 1	Michael Minkler, Myron Nettinga, Wylie Stateman, Mark Ulano
2003	BAFTA Award	Best Sound	Won	Chicago	Michael Minkler, Dominick Tavella, David Lee
2002	Academy Award	Best Sound	Won	Chicago	Michael Minkler, Dominick Tavella and David Lee
2002	BAFTA Award	Best Sound	Nominated	Black Hawk Down	Michael Minkler, Myron Nettinga, Chris Munro
2001	Academy Award	Best Sound	Won	Black Hawk Down	Michael Minkler, Myron Nettinga and Chris Munro
2000	Academy Award	Best Sound	Won	Gladiator	Scott Millan, Bob Beemer and Ken Weston
1998	Academy Award	Best Sound	Won	Saving Private Ryan	Gary Rydstrom, Tom Johnson, Gary Summers and Ron Judkins
1997	Academy Award	Best Sound	Nominated	L.A. Confidential	Andy Nelson, Anna Behlmer and Kirk Francis
1996	Academy Award	Best Sound	Nominated	Evita	Andy Nelson, Anna Behlmer and Ken Weston
1995	Academy Award	Best Sound	Won	Apollo 13	Rick Dior, Steve Pederson, Scott Millan and David MacMillan
1995	Academy Award	Best Sound	Nominated	Braveheart	Andy Nelson, Scott Millan, Anna Behlmer and Brian Simmons
1994	Academy Award	Best Sound	Nominated	Legends of the Fall	Paul Massey, David Campbell, Christopher David and Douglas Ganton
1994	Academy Award	Best Sound	Won	Speed	Gregg Landaker, Steve Maslow, Bob Beemer and David MacMillan
1993	Academy Award	Best Sound	Nominated	Schindler's List	Andy Nelson, Steve Pederson, Scott Millan and Ron Judkins
1992	Academy Award	Best Sound	Won	The Last of the Mohicans	Chris Jenkins, Doug Hemphill, Mark Smith and Simon Kaye
1990	Academy Award	Best Sound	Nominated	Dick Tracy	Chris Jenkins, David E. Campbell, D.M. Hemphill and Thomas Causey
1988	Academy Award	Best Sound	Nominated	Who Framed Roger Rabbit	Robert Knudson, John Boyd, Don Digirolamo and Tony Dawe
1987	Academy Award	Best Sound	Nominated	Empire of the Sun	Robert Knudson, Don Digirolamo, John Boyd and Tony Dawe
1985	Academy Award	Best Sound	Won	Out of Africa	Chris Jenkins, Gary Alexander, Larry Stensvold and Peter Handford
1982	Academy Award	Best Sound	Won	E.T. the Extra-Terrestrial	Robert Knudson, Robert Glass, Don Digirolamo and Gene S. Cantamessa
1979	Academy Award	Best Sound	Nominated	1941	Robert Knudson, Robert Glass, Don MacDougall and Gene S. Cantamessa
1978	Academy Award	Best Sound	Nominated	Hooper	Robert Knudson, Robert Glass, Don MacDougall and Jack Solomon
1977	Academy Award	Best Sound	Nominated	Sorcerer	Robert Knudson, Robert Glass, Richard Tyler and Jean-Louis Ducarme
1977	Academy Award	Best Sound	Nominated	Close Encounters of the Third Kind	Robert Knudson, Robert Glass, Don MacDougall and Gene S. Cantamessa
1976	Academy Award	Best Sound	Nominated	A Star is Born	Robert Knudson, Dan Wallin, Robert Glass and Tom Overton
1973	Academy Award	Best Sound	Won	The Exorcist	Robert Knudson and Chris Newman
1972	Academy Award	Best Sound	Won	Cabaret	Robert Knudson and David Hildyard
1965	Academy Award	Best Sound	Won	The Sound of Music	Fred Hynes
1963	Academy Award	Best Sound	Nominated	Cleopatra	Fred Hynes
1961	Academy Award	Best Sound	Won	West Side Story	Fred Hynes
1960	Academy Award	Best Sound	Won	The Alamo	Fred Hynes
1959	Academy Award	Best Sound	Nominated	Porgy and Bess	Fred Hynes
1958	Academy Award	Best Sound	Won	South Pacific	Fred Hynes
1957	Academy Award	Academy Scientific and Technical Award	Won	Todd-AO System	Todd-AO Corp Westrex Corp
1955	Academy Award	Best Sound Recording	Won	Oklahoma!	Fred Hynes

Television

Year	Award	Category	Type	Title	Honorees
2013	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour)	Nominated	Game of Thrones: And Now His Watch Is Ended	Mathew Waters, Onnalee Blank, Ronan Hill
2013	Emmy Award	Outstanding Sound Editing for a Series	Nominated	Game of Thrones: And Now His Watch Is Ended	Tim Kimmel, Paula Fairfield, Jed M. Dodge, Bradley C. Katona, David Klotz, Brett Voss, Jeffrey Wilhoit, James Moriana
2013	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour)	Nominated	Mad Men: The Flood	Ken Teaney, Alec St. John, Peter Bentley
2013	Emmy Award	Outstanding Sound Editing for a Series	Nominated	Nikita: Aftermath	George Haddad, Ruth Adelman, Chad J. Hughes, Steve Papagiannis, Dale Chaloukian, Ashley Revell, James M. Bailey
2013	CAS Award	Sound Mixing - Television Series	Nominated	Game of Thrones: Blackwater	Onnalee Blank, Mathew Waters, Ronan Hill and Brett Voss
2013	CAS Award	Sound Mixing - Television Series	Nominated	Mad Men: Commissions and Fees	Ken Teaney, Alec St. John, Peter Bentley
2012	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Miami: Blown Away	Timothy I. Kimmel, Brad Katona, Ruth Adelman, Todd Niesen, Skye Lewin, Joseph Sabella and James Bailey
2012	Emmy Award	Outstanding Sound Editing for a Series	Won	Game of Thrones: Blackwater	Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson, Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit and David Klotz
2012	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour)	Won	Game of Thrones: Blackwater	Mathew Waters, Onnalee Blank, Ronan Hill, Mervyn Moore
2012	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation	Nominated	Entourage: The End	Tom Stasinis, Dennis Kirk, Todd Orr
2011	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation	Won	Family Guy: Road to the North Pole	James F. Fitzpatrick and Patrick Clark
2011	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour)	Nominated	Mad Men: The Suitcase	Ken Teaney, Todd Orr, Peter Bentley
2011	Emmy Award	Outstanding Sound Editing for a Series	Nominated	Nikita: Pandora	George Haddad, Dale Chaloukian, Ruth Adelman, Chad J. Hughes, Ashley Revell, James Bailey and Joseph T. Sabella
2011	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: NY: Life Sentence	Mark Relyea, Edmund Lachmann, David Barbee, Ruth Adelman, Kevin McCullough, Joshua Winget, Joseph T. Sabella and James M. Bailey
2010	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Won	The Pacific: Part Two	Michael Minkler, Daniel Leahy, Andrew Ramage
2010	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	The Pacific: Part Five	Michael Minkler, Daniel Leahy, Craig Mann, Andrew Ramage
2010	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	'The Pacific: Part Eight	Michael Minkler, Daniel Leahy, Marc Fishman, Gary Wilkins
2010	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	The Pacific: Part Nine	Michael Minkler, Daniel Leahy, and Gary Wilkins
2010	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation	Won	Entourage: One Car, Two Car, Red Car, Blue Car'	Tom Stasinis CAS, Dennis Kirk, Alec St. John and Todd Orr
2010	CAS Award	Sound Mixing - Television Series	Won	Mad Men: Guy Walks Into an Advertising Agency	Ken Teaney, Todd Orr, Peter Bentley
2009	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) And Animation	Won	Entourage: Pie	Tom Stasinis CAS, Dennis Kirk and Bill Jackson
2009	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Crime Scene Investigation: Mascara	Mace Matiosian, Ruth Adelman, Jivan Tahmizian, David Van Slyke, Joseph Sabella and James Bailey
2008	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Won	John Adams: Don't Tread On Me	Marc Fishman and Tony Lamberti
2008	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	John Adams: Join Or Die	Michael Minkler and Bob Beemer
2008	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Crime Scene Investigation: Fight Night	Mace Matiosian, Ruth Adelman, Jivan Tahmizian, David Van Slyke, Chad Hughes, Joseph Sabella, Zane Bruce
2008	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation	Nominated	Entourage: Adios Amigo	Dennis Kirk and Bill Jackson
2007	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) And Animation	Won	Entourage: One Day In The Valley	Dennis Kirk and Mark Fleming
2007	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour)	Won	CSI: Crime Scene Investigation: Living Doll	Yuri Reese and Bill Smith
2007	Emmy Award	Outstanding Sound Mixing for a Comedy or Drama Series (One-Hour)	Nominated	The Sopranos: Stage 5	Kevin Burns and Todd Orr
2007	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Miami: No Man's Land	Tim Kimmel, Ruth Adelman, Todd Niesen, Bradley C. Katona, Skye Lewin, Zane Bruce, Joseph Sabella
2006	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	CSI: Crime Scene Investigation: A Bullet Runs Through It	Yuri Reese and Bill Smith
2006	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Crime Scene Investigation: A Bullet Runs Through It: Part 1	Mace Matiosian, Ruth Adelman, Mark Allen, Zane Bruce, Troy Hardy, Joseph Sabella, Jivan Tahmizian, David Van Slyke
2005	Emmy Award	Outstanding Sound Editing for a Miniseries, Movie or a Special	Won	The Life and Death of Peter Sellers	Anna MacKenzie, Victoria Brazier, Felicity Cottrell, Zack Davis, Richard Ford, Tim Hands, Laura Lovejoy, James Mather, Geoff Rubay, Ruth Sullivan
2005	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Miami: Lost Son	Ruth Adelman, Zane Bruce, Ann Hadsell, Bradley C. Katona, Skye Lewin, Todd Nieson, Joseph Sabella
2005	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Crime Scene Investigation: Down the Drain	Mace Matiosian, Ruth Adelman, Zane Bruce, Christine Luethje, Todd Nieson, Joseph Sabella, Jivan Tahmizian, David Van Slyke
2005	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	CSI: Crime Scene Investigation: Down the Drain	Yuri Reese and Bill Smith
2005	Emmy Award	Outstanding Single-Camera Sound Mixing for a Miniseries or a Movie	Won	Warm Springs	Adam Jenkins and Rick Ash
2005	Emmy Award	Outstanding Single-Camera Sound Mixing for a Miniseries or a Movie	Nominated	The Life and Death of Peter Sellers	Adam Jenkins and Rick Ash
2005	Emmy Award	Outstanding Single-Camera Sound Mixing for a Miniseries or a Movie	Nominated	Lackawanna Blues	Adam Jenkins and Rick Ash
2004	Emmy Award	Outstanding Sound Editing for a Miniseries, Movie or a Special	Won	And Starring Pancho Villa as Himself	Tony Lamberti, Zack Davis, Lou Kleinman, Michael Lyle, Carey Milbradt, Allan K. Rosen, Geoffrey G. Rubay, Bruce Tanis, Karen Vassar, Nicholas Viterelli, Dave Williams, Joshua Winget
2004	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	CSI: Crime Scene Investigation: Grissom vs. The Volcano	Yuri Reese and Bill Smith
2004	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	The Sopranos: Irregular Around The Margins	Todd Orr and Kevin Burns
2004	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	Traffic: Part 1	Marc Fishman, Tony Lamberti, Kevin Burns
2004	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	Something the Lord Made	Adam Jenkins and Rick Ash
2003	Emmy Award	Outstanding Sound Editing for a Series	Won	CSI: Crime Scene Investigation: Fight Night	Mace Matiosian, Ruth Adelman, Zane Bruce, Sheri Ozeki, Joseph Sabella, Jivan Tahmizian, David Van Slyke
2003	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	CSI: Crime Scene Investigation: Revenge Is Best Served Cold"	Yuri Reese and Bill Smith
2003	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	The Sopranos: Whoever Did This	Todd Orr and Kevin Burns
2003	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Won	Live From Baghdad	Adam Jenkins, Rick Ash, Drew Webster
2003	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	The Music Man	Todd Orr and Kevin Burns
2003	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	A Painted House	Todd Orr and Kevin Burns
2002	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Crime Scene Investigation: Chasing the Bus	Mace Matiosian, Ruth Adelman, Zane Bruce, Sheri Ozeki, Joe Sabella, Jivan Tahmizian, David Van Slyke
2002	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	CSI: Crime Scene Investigation: Another Toothpick	Yuri Reese and Bill Smith
2002	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	Band of Brothers: Carentan	Todd Orr and Kevin Burns
2001	Emmy Award	Outstanding Sound Editing for a Series	Nominated	CSI: Crime Scene Investigation: 35K OBO	Mace Matiosian, Ruth Adelman, Zane Bruce, Stan Jones, Joe Sabella, Jivan Tahmizian, David Van Slyke
2001	Emmy Award	Outstanding Single-Camera Sound Mixing for a Series	Nominated	The Sopranos: D-Girl	Todd Orr, Kevin Burns, Fred Tator
2001	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	South Pacific	Rick Ash, Joe Earle, Joel Moss
2001	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	Dirty Pictures	Todd Orr, Kevin Burns, Tom Perry
2000	Emmy Award	Outstanding Sound Editing for a Series	Nominated	The Others: Eyes	Mace Matiosian, Harry Cohen, Ruth Adelman, Mike Broomberg, Zane Bruce, Diane Griffen, Jivan Tahmizian and Guy Tsujimoto
2000	Emmy Award	Outstanding Sound Mixing for a Drama Series	Nominated	The Sopranos: D-Girl	Todd Orr, Kevin Burns, Tom Perry
1999	Emmy Award	Outstanding Sound Editing for a Series	Nominated	Buffy The Vampire Slayer: Lover's Walk	Anna MacKenzie, Mike Marchain, William Angarola, Fernand Bos, Zane Bruce, Mark Cleary, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella and Ray Spiess, Jr.
1999	Emmy Award	Outstanding Sound Editing for a Series	Nominated	The Sopranos: I Dream Of Jeannie Cusamano	Anna MacKenzie, Mike Marchain, William Angarola, Benjamin Beardwood, Zane Bruce, Mark, Kathryn Dayak, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella, Ray Spiess, Jr. and Bruce Swanson
1999	Emmy Award	Outstanding Sound Mixing for a Drama Series	Nominated	The Sopranos: A Hit Is A Hit	Todd Orr, Ron Evans, Adam Sawelson
1999	Emmy Award	Outstanding Sound Editing for a Miniseries, Movie or a Special	Nominated	A Soldier's Sweetheart	Anna MacKenzie, Mike Marchain, William Angarola, Ron Finn, Robert Guastini, Rick Hinson, Jason Lezama, Chris Moriana, Cindy Rabideau, Catherine Rose, Raymond Spiess III and Ray Spiess Jr.
1999	Emmy Award	Outstanding Sound Editing for a Miniseries, Movie or a Special	Nominated	Houdini	Anna MacKenzie, Mike Marchain, Skip Adams, William Angarola, Zane Bruce, Robert Guastini, Rick Hinson, Cindy Rabideau, Joe Sabella, Ray Spiess, Jr. and Jeanette Surga
1998	Emmy Award	Outstanding Sound Editing for a Series	Nominated	The Visitor: Pilot	Anna MacKenzie, William Angarola, Michael Broomberg, Mark J. Cleary, Robert Guastini, Rick Hinson, Jimmy Moriana, Cindy Rabideau, Jay Richardson, Raymond Spiess III, Ray Spiess Jr.
1998	Emmy Award	Outstanding Sound Mixing for a Miniseries or a Movie	Nominated	A Lesson Before Dying	Rich Ash and Gary Alexander
1998	Emmy Award	Outstanding Sound Editing for a Miniseries, Movie or a Special	Nominated	Creature	Anna MacKenzie, Mike Marchain, William Angarola, Steve Bissinger, Mark J. Cleary, Robert Guastini, Ellen Heuer, Rick Hinson, Jason Lezama, Aaron Martin, Craig Ng, Cindy Rabideau, Raymond Spiess III, Ray Spiess Jr.
1998	Emmy Award	Outstanding Sound Mixing for a Drama Miniseries or a Movie	Won	12 Angry Men	Adam Jenkins and David E. Fluhr
1998	Emmy Award	Outstanding Sound Mixing for a Drama Miniseries or a Movie	Nominated	From The Earth To The Moon: Le Voyage Dans La Lune	Todd Orr and Kevin Burns
1998	Emmy Award	Outstanding Sound Mixing for a Drama Miniseries or a Movie	Nominated	From The Earth To The Moon: 1968	Scott Millan and Brad Sherman
1998	Emmy Award	Outstanding Sound Mixing for a Drama Miniseries or a Movie	Nominated	From The Earth To The Moon: That's All There Is	Rich Ash and Adam Sawelson
1997	Emmy Award	Outstanding Sound Mixing for a Drama Miniseries or a Special	Won	Titanic	Adam Jenkins, Don Digirolamo, Davide E. Fluhr
1997	Emmy Award	Outstanding Sound Mixing for a Drama Miniseries or a Special	Nominated	Apollo 11	Todd Orr, Kevin Burns, Jon Taylor
1997	Emmy Award	Outstanding Sound Mixing	Won	Flipper	Jon Taylor, Kevin Burns and Todd Orr
1996	Emmy Award	Outstanding Sound Mixing	Won	Flipper	Kevin Burns, Jon Taylor and Chris Minkler
1993	Emmy Award	Outstanding Sound Mixing for a Comedy Series or a Special	Won	Doogie Howser, M.D.: Doogie Got a Gun	Joe Kenworthy, Mike Getlin, Dean Okrand and Bill Thiederman
1992	Emmy Award	Outstanding Sound Mixing for a Comedy Series or a Special	Won	Doogie Howser, M.D.: Lonesome Doog	Joe Kenworthy, Bill Thiederman, Dean Okrand and Mike Getlin
1992	Emmy Award	Outstanding Sound Editing for a Series	Won	Law & Order: Heaven	David Hankins, Frank A. Fuller Jr., Peter Bergren, David A. Cohen, Richard Thomas, Barbara Issak, James Hebenstreit, Albert Edmund Lord III and Barbara Schechter
1991	Emmy Award	Outstanding Sound Mixing for a Comedy Series or a Special	Won	Doogie Howser, M.D.: Doogenstein	Joe Kenworthy, Dean Okrand, Bill Thiederman and Mike Getlin
1987	Emmy Award	Outstanding Sound Editing for a Miniseries or a Special	Won	Unnatural Causes	Vince Gutierrez, William H. Angarola, Clark Conrad, Doug Gray, Mace Matiosian,Anthony Mazzei, Michael J. Mitchell, Matt Sawelson, Edward F. Suski, Dan Carlin Sr., James Wolvington, Barbara Issak and Jon Johnson
1987	Emmy Award	Outstanding Sound Editing for a Series	Won	Max Headroom: Blipverts	Doug Grindstaff, Richard Corwin, Clark Conrad, Brad Sherman, Richard Taylor, James Wolvington and Dick Bernstein
1985	Emmy Award	Outstanding Live And Tape Sound Mixing And Sound Effects For A Series	Won	Cheers: The Executive's Executioner	Doug Gray, Michael Ballin, Thomas J. Huth and Sam Black
1985	Emmy Award	Outstanding Film Sound Mixing For A Limited Series Or A Special	Won	Space: Part 5	Clark King, David J. Hudson, Mel Metcalfe and Terry Porter
1985	Emmy Award	Outstanding Film Sound Mixing For A Series	Won	Cagney & Lacey: Heat	Maury Harris, John Asman, Bill Nicholson and Ken S. Polk
1984	Emmy Award	Outstanding Live and Tape Sound Mixin and Sound Effects for a Series	Won	Real People: Hawaii Show - Sarah's Wedding	Mark Hanes, Stu Fox, Dean Okrand and Edward F. Suski
1984	Emmy Award	Outstanding Film Sound Mixing for a Limited Series or a Special	Won	A Streetcar Named Desire	Richard Raguse, William L. McCaughey, Mel Metcalfe and Terry Porter
1983	Emmy Award	Outstanding Film Sound Mixing for a Limited Series or a Special	Won	The Scarlet and the Black	John W. Mitchell, Gordon L. Day, Stan Wetzel and Howard Wilmarth
1983	Emmy Award	Outstanding Film Sound Editing for a Series	Won	Hill Street Blues: Stan the Man	Sam Horta, Donald W. Ernst, Avram D. Gold, Eileen Horta, Constance A. Kazmer and Gary Krivacek
1982	Emmy Award	Outstanding Film Sound Mixing	Won	Hill Street Blues: Personal Foul	Bill Marky, Robert W. Glass Jr., Bill Nicholson and Howard Wilmarth
1980	Emmy Award	Outstanding Film Sound Mixing	Won	The Ordeal of Dr. Mudd	Ray Barons, David E. Campbell, Robert Pettis and John T. Reitz
1979	Emmy Award	Outstanding Film Sound Editing	Won	Friendly Fire	Bill Wistrom
1970	Emmy Award	Outstanding Film Sound Mixing	Won	Mission: Impossible	Dominick Gaffey and Gordon L. Day

See also

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

References

1. "The Todd-AO Corporation". encyclopedia.com.
2. Civil Aeronautics Board, ed. (1958-03-22), Investigation of Aircraft Accident: LOCKHEED: NEAR GRANTS, NEW MEXICO: 1958-03-22 , retrieved 2022-11-21
3. Palank, Jacqueline (May 22, 2014). "Soundelux Enters Bankruptcy, Seeks Cash" . The Wall Street Journal .
4. Frazer, Bryant (May 22, 2014). "Todd-Soundelux Files for Chapter 11 Bankruptcy Protection, Shuttering Hollywood and Santa Monica Locations". Studio Daily.
5. Robb, David (November 14, 2014). "Bankrupt Soundelux Effects Library Sold Off As Former Giant Goes Quiet". Deadline Hollywood . Retrieved October 9, 2018.
6. SMPTE Standard 145:2004 For Motion-Picture Film (65-mm) — Perforated KS-Scope
7. "Cinema: The New Pictures". Time . October 29, 1956. Archived from the original on January 5, 2013. Retrieved 2010-10-01.
8. Kurtti, Jeff (1996). The great movie musical trivia book (1. print. ed.). New York: Applause. p.  163. ISBN   978-1557832221 . Retrieved January 6, 2013. oklahoma todd ao.
9. Roe, Ken. "Columbia Theatre". Cinema Treasures. Retrieved October 9, 2018.
10. "Rivoli Theatre". Cinema Treasures. Retrieved June 2, 2009.
11. "Cinestage Theatre". Cinema Treasures. Retrieved 2009-06-02.
12. "Hunt's Cinestage Theatre". Cinema Treasures. Retrieved June 2, 2009.
13. "Todd-AO 35 Camera Aperture". shotonwhat.com. Retrieved 6 July 2022.
14. "Discovery to combine stakes in Discovery Communications with Advance/Newhouse". CNN Money . Archived from the original on December 31, 2007.
15. Burlingame, Jon (August 22, 2007). "Todd-AO's fate could impact scoring". Variety .
16. "Discovery Holding Company Enters Into Definitive Agreement with Advance/Newhouse to Combine Stakes in Discovery Communications" (Press release). Ascent Capital Group. June 4, 2008. Retrieved October 9, 2018.
17. Hunt, Bill. "See Todd Douglas Miller's Remarkable Apollo 11 Documentary in IMAX While You Can". The Digital Bits. Retrieved 26 April 2023.

External links

• 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 N° 56 on page 19:
• The history of the Todd-AO projector, known as the DP70