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Author Topic: 70mm Opening in York (UK) Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 10-01-2003 05:22 PM                        Sadly, the cost of doing that relative to the cost of preparing a new o-neg (or, if a significant proportion of the surviving footage is 2nd generation or below, a fine-grain pos) is insignificant given the cost of putting magnetic oxide on a release print. This ain't the issue, it's the cost of restoration in the first place. That cost is determined by the state of the source material and what you want to do with it. If a printable 65mm interneg exists of a given title then I guess it may be a little bit cheaper to print it onto 70mm release print stock with a DTS timecode minus mag as against striping it. But if the preservation/restoration needs go back to any previous generation, then the costs of working on a film at that level are so big that whether or not the prints are mag or not really doesn't make any difference. For example, Robert Harris states on the Vertigo laserdisc commentary that the restoration costs came in at around the $2 million mark. That's not much in relation to the price of striking release prints, whatever format they are in.  |  IP: Logged Darren Briggs Master Film Handler Posts: 371 From: York, UK Registered: Dec 2001 posted 10-02-2003 11:46 AM                        If thre going to restore a film, why not restore it to its original release format, i.e. Mag sound, like 2001 was. More cinemas can play Mag than DTS70. Or do both like has been done with the re-prints of Lawrence in the states. Some Mag, som DTS. Any 70 new or old would be great, mag or dts, but mag has a sound like no other when recorded well. listen to Hello Dolly, original 1969 prints, truely awesum. OR latest recordings like Far and Away 6 track SR, best sound Ive ever heard. Darren  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 10-02-2003 09:03 PM                     Mag stripping is increasing getting very difficult to get done due to the EPA regulations on some of the solvents (hm I used to love the smell of mag stripe in the morning it smelled of Showmanship )  |  IP: Logged Peter Hall Master Film Handler Posts: 314 From: London, UK Registered: Dec 2000 posted 10-03-2003 08:51 AM                        Surely and restoration now will be for the long term future, and therefore any format that degrades with time alone (eg mag) would be out ? Have you ever tried playing cassettes you had at school (mmm, would require the revisiting of pubescant music taste, perhaps not !)  |  IP: Logged Darren Briggs Master Film Handler Posts: 371 From: York, UK Registered: Dec 2001 posted 10-03-2003 01:25 PM                        Fair Point Peter, but how long will CD'S last? suppose you can get new ones made though. Cant get a new 70mm print re-recorded every 20 years. Allthough it is amazing how good the originam 1960's prints still sound today. Darren  |  IP: Logged Peter Hall Master Film Handler Posts: 314 From: London, UK Registered: Dec 2000 posted 10-04-2003 04:31 AM                        Can't quite take your point about CDs - yes, they may not keep their stuff in 20 years but at least it's a Digital format so a copy (to whatever the format d'jour is in 2023 !) will be transparent to the original. But no, I agree that 70mm is unique - have never seen a CD in Our Price with a sensurround track !  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 10-05-2003 05:40 PM                        The jury is very much out on optical disc longevity, because they're so new that really all we have to go on are accelerated aging (e.g. Arrhenius) tests. This is something that gets talked about a lot in archive circles, especially among audio archivists who basically want to know if they can rely on CD-Rs for long-term preservation. The basic concensus seems to be that factory-pressed CDs are probably the most stable of all optical discs, with the caveat that some very early ones used slighly acidic inks in the label which can attack the polyeurathane outer 'sandwich' layer. OF CD-Rs, the photocyanine (light yellowish recording surface) are said to be better than the other sorts, though I must admit that I really couldn't understand the chemistry in the paper I read which made that argument. quote: If thre going to restore a film, why not restore it to its original release format, i.e. Mag sound, like 2001 was. quote: Surely and restoration now will be for the long term future, and therefore any format that degrades with time alone (eg mag) would be out ? This gets the crucial issue, which is that most restoration has to do two things: create master elements for long-term preservation, and create new copies for viewing here and now. As far as the here and now goes, I agree with Darren: mag makes the best sense (though I gather that there are serious environmental issues involved with the chemicals used for mag striping which is making it ever more difficult). But for long-term preservation you need something which you know you can pull off the shelf in 50 years' time and make another print from. As far as sound goes the ideal preservation medium, IMHO, would be digital data recorded photographically on polyester black-and-white film, i.e. like a Dolby Digital track but without any compression, at a massively high sampling rate and frequency range, and with a much lower data writing density. At any point in the future this could be played back into a computer which could then transcode it into whatever format was in widespread use at the time and kick out a new optical sound negative, digital cinema server file or whatever; or even to record the mag stripes on a new 70mm print after digital to analogue conversion.  |  IP: Logged

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