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Author Topic: The Glory of 70mm Rob Brooks Film Handler Posts: 57 From: NY, U.S.A. Registered: Oct 1999 posted 11-19-1999 09:56 PM                     Earlier this year I got a brand new print of "Lawrwence of Arabia" in for a film festival. I can see how much more carefully you have to handle everything to have the 70 film run correctly without scratching it. Every twist in the film between rollers from platter to projector had to be at a minimum. No threaders choice like with 35mm. We have 2 35-70 Strong by Simplex projectors for 70. By the way the print was totally mind blowing awesome. There was only 3 shows. Since the print didn't arrive until during the first show, we showed a terribly scratched 35 back-up. The 70 came in on cores. Fortunately for me, I had an I-Max guy in the booth who knew how to get the print made up in a hurry. The roller/projector conversion was done during the 45 min intermission. So we had to go on without Teching any of it. By the way I heard the print cost was 20 Grand for the 2 shows. Sony has the bucks.  |  IP: Logged John Walsh Film God Posts: 2490 From: Connecticut, USA, Earth, Milky Way Registered: Oct 1999 posted 11-19-1999 11:52 PM                     Hey Rob.... Did you run "LOA" in the house with two projectors? If so, why would you make it up for platter use for only 2 shows? Also, they didn't EQ the mag "A" chain?  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 11-20-1999 03:22 PM                     At Ont Place Cinespher we run LOA in 70mm every year and the print is in good shape considering the number of different play dates it gets all over North America At 82' wide it is awsome Any body have some extra tone and noise for LOA as ours has finally worn out  |  IP: Logged Ian Price Phenomenal Film Handler Posts: 1714 From: Denver, CO Registered: Jun 99 posted 11-22-1999 01:00 PM                     Hey Gordon, How is some other print's loop going to help you? I thought that all tone and loops were dubber specific. If you set up your Mag Head's azmuth and processors Dolby Tone with another loop, it will be wrong for your print.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 11-23-1999 11:58 AM                     The tone and noise for 70mm prints not as much print specific but title and studio specific. The older procedure was to align the recording dubbers and then record both pink noise and dolby tone on the aligned system usually on bulkerased old prints. Then the printds were sounded and a portion of the rolls of tone and noise were sent out inadvance to the engineers who would be aligning the theatres scheduled to play the title. Which print went where was more or less up in the air At one time for insurance they recorde noise on the tail of the reels and tone on the head but that was not common Even thought there were supposed standards each sounding facility and studio's sound department had very different set of standards for the flux density of the 0 db reference (the standard currently is supposed to be 195nw per meter) The eq of the heads varied depending on the oxide used, The make of dubber and the recoring amplifiers as well as the head of studio sound departments preferences. Slowly I have been archiveing all the tone and noise in my collection of loops over the years with the r2 anayazer doing a comparison against Teccons reference film. But it is a slow process  |  IP: Logged Rick Uhlhorn Film Handler Posts: 11 From: Cedar Park, Texas USA Registered: Oct 1999 posted 11-25-1999 11:29 PM                     i just ran a 70 print of LOA on sunday reel to reel, 2 century jj with strong 80 running 130 amps. print was a knock out, the sound was better than any digital. we got track alignment strips in the film cans.  |  IP: Logged

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