|
|
 
|
|
Author
|
Topic: Cyan Tracks
|
|
|
|
|
|
|
|
|
|
|
John Walsh
Film God
Posts: 2490
From: Connecticut, USA, Earth, Milky Way
Registered: Oct 1999
|
posted 02-17-2004 10:54 PM
Well, I sort of think the labs/studios are reducing their costs by forcing the theaters to go to cyan. The red readers cost about $500; require more maintaince, and don't sound as good. There doesn't seem to be any advantage; the cost has just been shifted. Yes, there's a savings of the silver, but it seems small. No one want to be an 'anti-environmentalist' but I feel there are more cost effective ways to save. Has anyone added up the 'true' cost of conversion, by adding the reader cost, labor to install, and the additional "A" chains that need to be done?
| IP: Logged
|
|
|
|
|
|
|
|
Warren Smyth
Expert Film Handler
Posts: 158
From: Auckland ,New Zealand
Registered: Aug 2003
|
posted 02-18-2004 06:49 AM
Dominic quote:
it's the water, the processing chemicals, the reprints (most labs will tell you that the applicator problems are their biggest single cause of reprints because it's such a pig of a process)
Congratulations Dominic, what a refreshing experience it is to hear some truths on the real motivation for the introduction of cyan tracks. You are not saying anything I didn't already know from friends working in labs, however I admire you for your honesty.
Originally, I frankly couldn't see why the industry should convert to a track (at some expense)of a hue which has traditionally been the first to suffer fading. If exhibitors wanted apparent benefits from led arrays, fine, but it should have been a matter of choice. When a multinational corporation was telling everyone that it was for environmental purposes, I couldn't help but be just a little suspicious. If the sound quality was going to be better as a direct result of cyan, then I would have been all for it, but sadly it isn't the case.
Of course there is understandable dragging of the chain with red light conversions. Why? because one section of the industry that stands to save some quality control costs expects the programme to be bank rolled by another, the exhibitors. Wasn't it Ralph Nader who said something like "Corporate America capitalizes profits and socializes losses".
As I said, I really thought the idea of cyan tracks was a little crazy, but now I think they are the best thing since sliced bread. Why, because the red light conversion has been an excellent educational programme for every exhibitor in the world. Why? because the business model that the originators of cyan tracks have perpetrated on exhibitors, is, on a microscopic scale, that which is planned for, wait for it!!! Digital Cinema.
In Britain, even the taxpayer is picking up the tab as a grant to exhibitors who think every day is Christmas day. Ralph wasn't wrong. But look on the bright side. A red light conversion is a small price to pay for the instruction in this economic theory. It's rather like having an anti- flue vacine. You might as a result suffer a slight cold, but it might save you from the big one. You know, like the one where the bank manager calls in the loan on that big investment you made that hasn't quite produced more backsides on seats.
I hate to do this to you Dominic because you are obviously an honourable man but please, prove Ralph wrong. Is Atlab going to offer a genuine permanent, discount for prints supplied with cyan tracks? Are the savings going to be passed on in a way that can be verified? What about the rest of the labs around the world. Is there any sign that they are going to prove Ralph wrong?
I'm waiting for the pro Digital Cinema spin doctors to announce that the environment is going to be enhanced because there will no longer be a need to dump thousands of tons of film into landfill every month. Why shouldn't they, after all, the spin worked before, some very intelligent people actually swallowed it.
| IP: Logged
|
|
|
|
|
|
|
|
|
|
Dominic Case
Expert Film Handler
Posts: 131
From: Sydney NSW Australia
Registered: Aug 2003
|
posted 02-18-2004 06:25 PM
Well of course I'd talk about the lab side of dye tracks - that's what I know best. But if this was only being driven by the labs, how is it that the cyan track committee is headed up by people from Dolby and Kodak. How does Kodak profit? They're going to sell less print film if reprint rates are cut! And Dolby? - I don't think someone like Ioan Allen, with a lifetime of working to improve cinema sound quality, is going to preside over something that compromises that.
Funny how the arguments get more desparate. Dumbing-down the process? When Kodak removed the backing layer from print film (also a positive in terms of environmental concerns, and also simplifying the process) was that "dumbing down?. No, it was making improvements to the system. So's this one.
As for reducing print orders in order to justify keeping old soundheads and silver tracks: there's an imaginative leap! I quite agree that the massive print runs and short, wide releases seem silly and wasteful: but the distributors obviously understand the economics of promoting big-budget movies, and stampeding the audience into a particular film in its first week is clearly what works for them. But ultimately, bigger print runs drive the economics in favour of digital distribution.
Ironically, IB prints with silver tracks were ideal for the older soundheads, and also a more economical (and in some ways superior) prelease printing technology for the massive print runs we see nowadays. But (a) it would disadvantage small independent releases and (b) it's not coming back - I think Technicolor proved that a couple of years ago.
| IP: Logged
|
|
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
![[evil]](graemlins/evil.gif)
![[Eek!]](eek.gif)
I can't see dying for less than 70mm mag or at least 35mm fullcoat.
Printer-friendly view of this topic