Much has been written about the production of Quentin Tarantino’s upcoming “The Hateful Eight,” which the director and cinematographer Robert Richardson shot using the Ultra Panavision 70mm format. The anamorphic widescreen photography hadn’t been utilized since the late 1960s, and the resulting image is impressively massive and detailed, particularly when in close-up on an actor’s face. But while much of the reporting on “The Hateful Eight” has focused on producing and shooting in Ultra Panavision, an equally-as-daunting task has been exhibiting it.
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