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Author Topic: Cyan Tracks
Steve Kraus
Film God

Posts: 4094
From: Chicago, IL, USA
Registered: May 2000


 - posted 03-17-2004 03:09 PM      Profile for Steve Kraus     Send New Private Message       Edit/Delete Post 
Uncross arms? [Confused]

Now if we could only get IR and Red LEDs in close alignment on the same substrate. Not sure about the focus issues though.

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99


 - posted 03-17-2004 03:16 PM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
"The RED LED's all come from Dolby."

Clint, I was speaking in terms of reverse scan readers which is pretty much what this thread is about. I am very aware of your red led arrays as well. Have you or Jack ever thought of using the LED arary from the JAX light as a replacement for the SDDS readers led arrays? There is some good possibility there...... besides just the longer life span of your array.

Mark

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Clint Koch
Phenomenal Film Handler

Posts: 1435
From: San Luis Obispo, CA, USA
Registered: Feb 2002


 - posted 03-17-2004 04:20 PM      Profile for Clint Koch   Email Clint Koch   Send New Private Message       Edit/Delete Post 
Mark,
We have two versions of arrays. One for the Jaxlight, part number 146026, and one for reverse scan units, part number
RLD-10. Jack has thought of the SDDS application yet never pursued it. See you at Showest.
Clint

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Dominic Case
Expert Film Handler

Posts: 131
From: Sydney NSW Australia
Registered: Aug 2003


 - posted 03-17-2004 08:01 PM      Profile for Dominic Case   Author's Homepage     Send New Private Message       Edit/Delete Post 
quote:
It seems to me IMHO that the industry, before fiddling with the only really reliable system of reading sound from film, should perfect digital to the point where operators never have to worry about the digital dropping out.
This does seem logical - digital sound is yet one more example of the shortcomings of digital technology being conveniently overlooked.

But when (if?) digital soundtracks become totally(?) reliable, what then? Do we discontinue analogue tracks completely? In which case, what kit would be fitted to new projectors? Probably no analogue head at all. So there would be a bigger incompatibility problem for this list to worry about.

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 03-19-2004 07:58 AM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
MGM is the first distributor to produce all US 35mm prints with Cyan Dye Soundtracks. Today's press release:

quote:
MGM to Issue All 35 mm Prints
with Pure-Dye Analog Soundtracks

(March 19, 2004)—MGM and the Dye Track Committee have announced that beginning with the release of Soul Plane on May 28th, 2004, all 35 mm prints of all MGM titles will be issued in the US exclusively with pure-dye cyan analog soundtracks. MGM is the first studio to use environmentally friendly cyan tracks in lieu of traditional silver-applicated tracks on 100% of its 35 mm releases.

Environmental benefits of the cyan soundtrack include the elimination of caustic chemicals, and silver itself, from the print manufacturing process. The switch also enables a significant reduction in water usage: were all U.S. print manufacturing to convert to cyan tracks, the ongoing savings would be equivalent to the drinking water needs of a town of 75,000. Silver-applicated tracks have the further disadvantage of a comparatively high manufacturing reject rate.

“MGM is proud to be in the forefront of this landmark change in film sound-tracks, and to be taking a significant step in improving the environment,” said Chris Aronson, Executive Vice President, General Sales Manager, MGM. Added Ioan Allen of the Dye Track Committee, “MGM’s commitment is a major step in this unique partnership between studios and theatres.”

In exhibition, cyan soundtracks require red-light soundtrack readers, which have been standard in new projector models for some time. It is estimated that the vast majority of the projectors in use in the U.S. are now equipped with red-light readers, making it now practical to use cyan tracks on all 35 mm prints. “We are grateful for MGM’s leadership, and delighted that the studios are taking advantage of the theatres' shift to red light readers,” said John Fithian, President, National Association of Theatre Owners. “This shows that the film industry as a whole has an environmental conscience.”

The move to pure-dye soundtracks has been spearheaded by the six-year-old Dye Track Committee, which consists of representatives of Eastman Kodak, Dolby Laboratories, and print laboratories that include Deluxe and Technicolor. The technology has been thoroughly and successfully tested by labs, film distributors, and exhibitors over the past four years. Digital soundtracks are not silver-applicated, so are not affected by the decision to use cyan analog tracks.

Expect other announcements soon.

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Frank Angel
Film God

Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999


 - posted 03-19-2004 12:36 PM      Profile for Frank Angel   Author's Homepage   Email Frank Angel   Send New Private Message       Edit/Delete Post 
I know a 10-plex here in Brooklyn, city of 3 million (not exactly a one horse town), that still has white-light readers in every screen. And that's just the one theatre that I know of because the projectionist is a friend of mine. I suspect there may be a few more. So when the press release says,"It is estimated that the vast majority of the projectors in use in the U.S. are now equipped with red-light readers," I wonder just how is was "estimated" and exactly what they mean by the word vast. After all, 51% is a majority and if I were a distributor, I surely wouldn't be happy loosing 49% of potential screens.

So how come the Committee, which includes Technicolor hasn't made cyan test film readily available prior to the release of an all-cyan inventory title? I find that a bit irresponsible, no? Given that Technicolor certainly has the facilities and the distribution system to ship rolls of test material with prints just as they ship trailers, one would think this a natural, easy way to get theatres ready in advance rather than just shipping out prints that will rely on new technology --technology that heretofore has been untested in most (dare I say the vast majority) of theatres that do have red-light readers. At the very least, shouldn't cyan track test film have been made part of the SMPTE's test film arsenal and been available long ago, surely before the first cyan-only release?

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Thomas Procyk
Phenomenal Film Handler

Posts: 1842
From: Royal Palm Beach, FL, USA
Registered: Feb 2002


 - posted 03-19-2004 12:47 PM      Profile for Thomas Procyk   Email Thomas Procyk   Send New Private Message       Edit/Delete Post 
Sorry to get slightly off-topic here, but are "high magenta" tracks pure dye also, or do they contain some silver?

Also, is a release print generally consistent when using High Magenta versus Silver tracks? I've handled a few prints where on one reel the soundtrack was blatantly dark-maroon in color, while on the next reel it's almost solid black with no distinguishable shade. [Confused]

Both the theaters that our company operates have all-white (exciter) readers. This should be interesting.

=TMP=

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 03-19-2004 01:45 PM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
Older soundtracks on color print film exposed the magenta and cyan layers, and were then applicated, giving a (cyan + magenta + silver) track. "High Magenta" exposes the magenta layer, which is then applicated to give a (magenta + silver) soundtrack.

The "high magenta" track is more compatible with a mix of reader types, as the cross-modulation optimization density is nearly the same for both white and red readers. Older soundtracks had to be optimized for one or the other, so there would be a few percent distortion on the one that it was not optimized for.

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Daryl C. W. O'Shea
Film God

Posts: 3977
From: Midland Ontario Canada (where Panavision & IMAX lenses come from)
Registered: Jun 2002


 - posted 03-19-2004 05:55 PM      Profile for Daryl C. W. O'Shea   Author's Homepage   Email Daryl C. W. O'Shea   Send New Private Message       Edit/Delete Post 
quote:
all 35 mm prints of all MGM titles will be issued in the US exclusively with pure-dye cyan analog soundtracks.
Does anyone know if MGM is planning to use applicated tracks in Canada and then use those prints for worldwide distribution, or did they just overlook Canada as is typical of most US companies?

Also, does anyone know if this "press release" was announced anywhere other than here on www.dyetracks.org?

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Steve Kraus
Film God

Posts: 4094
From: Chicago, IL, USA
Registered: May 2000


 - posted 03-19-2004 07:14 PM      Profile for Steve Kraus     Send New Private Message       Edit/Delete Post 
Didn't you know Canada was part of the US? Puerto Rico is, however, a foreign country. At least that's how things are for most aspects of the movie business. I don't know about this situation.

Obviousy MGM's prints will now be useless in much of the world but I don't know how many were being reused anyway.

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Richard Fowler
Film God

Posts: 2392
From: Ft. Lauderdale, FL, USA
Registered: Jun 2001


 - posted 03-19-2004 09:03 PM      Profile for Richard Fowler   Email Richard Fowler   Send New Private Message       Edit/Delete Post 
Puerto Rico is not a foreign country but a Commonwealth alined with the USA. 99.99% of their cinemas are reverse scan equipped [Razz]

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Steve Kraus
Film God

Posts: 4094
From: Chicago, IL, USA
Registered: May 2000


 - posted 03-19-2004 10:39 PM      Profile for Steve Kraus     Send New Private Message       Edit/Delete Post 
I think you missed the point. IIRC distributors treat PR as a foreign territory presumably because of the language difference. I'm aware of its actual status.

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 03-20-2004 12:02 AM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
Dye tracks have been "thoroughly and successfully tested" by exhibitors? As far as I know, only one minor title and zero trailers have been generally available with dye tracks.

It will be interesting to see what happens when (if) wide releases go out cyan-only.

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Ken Layton
Phenomenal Film Handler

Posts: 1452
From: Olympia, Wash. USA
Registered: Sep 1999


 - posted 03-20-2004 12:38 AM      Profile for Ken Layton   Email Ken Layton   Send New Private Message       Edit/Delete Post 
When were cyan buzz track, cyan Dolby tone, cyan pink noise, and cyan left-right test films made available for techs to test red LED readers out with?

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Dan Lyons
Jedi Master Film Handler

Posts: 698
From: Seal Beach, CA
Registered: Sep 2002


 - posted 03-20-2004 03:20 AM      Profile for Dan Lyons   Email Dan Lyons   Send New Private Message       Edit/Delete Post 
what's the longevity of these tracks compared to the standard ones? It would be lousy if 10 or 20 years from now a repertory theatre booked a print, only to find the print that arrived has no soundtrack because it faded away. The Cyan layer has always been the first to fade... [puke]

danny

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