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Author Topic: Cyan Tracks Dominic Case Expert Film Handler Posts: 131 From: Sydney NSW Australia Registered: Aug 2003 posted 03-30-2004 09:26 PM                       quote: I'd have got rid of the analogue SVA track altogether and started issuing Super 35 release prints with two Dolby digital tracks, one between each set of perforations (one being a backup). Now Leo, that would really stir up a hornets' nest. Mainstream theatres would equip for this (with, of course, new lenses all round to suit the perf-to-perf width of the frame), and another new Dolby reader (two-sided). Film-tech would have a field day about the cost. Meanwhile, new theatres of course would save money and buy projectors without an analogue head (no need for it on new releases), and so all existing non-digital prints would eventually become unuseable except in specialist theatres. It's hard enough to get a film screened in Academy ratio let alone introducing complete incompatabilities in sound. Anyway, if two (mirror back-up) digital tracks would be so reliable, how come SDDS ever reverts to analogue?  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 03-30-2004 09:33 PM                        quote: It's hard enough to get a film screened in Academy ratio let alone introducing complete incompatabilities in sound. And that's unlike changing to cyan tracks?  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 03-30-2004 09:38 PM                     I can't believe this thread has gone on this long..... Totally rediclous! Mark  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 03-30-2004 09:41 PM                        I find it easy to believe the thread has gone on so long. I can't believe how long it's taking to make the conversion. It's not like there's any notable technological progress being made.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-31-2004 12:31 AM                        Dominic writes: quote: Meanwhile, new theatres of course would save money and buy projectors without an analogue head (no need for it on new releases), and so all existing non-digital prints would eventually become unuseable except in specialist theatres. Which, IMHO, isn't any worse than what this change will introduce, namely that all existing non-digital prints will soon become unusable in all theatres (or at least, only semi-useable). There are many examples of obsolete technologies being phased out without causing Armageddon: for example when sound-on-disc was releasing terminated in the early '30s, all those theatres which had invested in Vitaphone (or clone systems) had to requip: and the industry survived. The real problem would be for distributors who specialise in archive and re-release titles, and of course for archives. But they've got a problem anyway. I imagine what'll happen is that a few prestige venues and archive screening theatres will maintain a means of playing back films through incandescent exciters, but the rest will have to make do with nasty sound. Another development may well be that some of the more anal archive access officers will refuse to allow their prints to play at LED or laser-only venues (just as they currently operate an arbitrary, blanket ban on the use of platters), thereby further restricting access by taxpayers to the preservation and restoration work they pay for. Now if you really wanted to be environmentally friendly you would take advantage of digital optical sound to bring the standard projection speed back to 16fps, thereby saving a third on film stock and all those nasty chemicals. But I'm sure Kodak and the labs would put a fatwa on anyone who tried to seriously float that idea!  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 03-31-2004 01:14 AM                       I agree with Mark G that this thread has gone on forever and I guess like everyone else, I'm prolonging it. I'm sure Leo is kidding with his wanting to go back to 16FPS. Imagine the flicker and of course a whole new standard in slow speed recoding of the analog track.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-31-2004 03:41 AM                        I was 90% kidding: though three-blade shutters would eliminate flicker (and would cost hardly anything, unless the light loss necessitated a lamp upgrade), and if we're (hypothetically, of course!) getting rid of analogue sound altogether, very little in the way of new standards would be needed.  |  IP: Logged Peter Kerchinsky Master Film Handler Posts: 326 From: Seattle, WA, USA Registered: Jan 2002 posted 03-31-2004 04:54 AM                     Is this really still going on? 30 pages? There should be a limit or something similar. Like find something else to "write" about. In the words of Homer......boooring!  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 03-31-2004 09:51 AM                    How about a contest? First person to achieve Dolby Level with a white light source on a cyan track. (We'll need some cyan tone of course.) No restrictions...if you want to fit a MARC/350 to your soundhead so be it. Someone suggest a prize. Oh by the way, Kill Bill Volume 2 Reel 1 has a pure silver (not applicated) track. (Hint! -- See the FITA forum) hehehe  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 03-31-2004 10:04 AM                       Leo, I think we should return back to Nitrate prints along with 16FPS. The fine grain sturcture and detail of these prints are unmatched to this day.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-31-2004 11:24 AM                         |  IP: Logged Ken Layton Phenomenal Film Handler Posts: 1452 From: Olympia, Wash. USA Registered: Sep 1999 posted 03-31-2004 12:06 PM                     I'll be going out in the next two weeks to reopen a single screen theater way out in the sticks that's been closed since 1981. The new owners (a non-profit group) want me to rebuild the vintage 1936 RCA tube sound system and clean up the Super Simplexes. They've got carbon arc, too. This theater still uses # 868 phototubes in the soundhead and is the only theater for many, many miles. Seems the residents there are fed up with video tapes and satellite tv and want to have the movie theater operating again.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-31-2004 12:41 PM                        RCA 868 Gas Photodiode had a S-1 response: http://frank.pocnet.net/sheets/049/8/868.pdf http://www.sphere.bc.ca/test/tube-data/phototube3.jpg http://www.sphere.bc.ca/test/tube-data/pmt16.jpg These old pre-WWII tubes still had about 70% of peak response at 660nm., so a red LED source might be workable if you don't want to modernize with a solid state pickup. Be creative.  |  IP: Logged Ted Costas Expert Film Handler Posts: 119 From: Hollywood, CA, USA Registered: May 2000 posted 03-31-2004 02:36 PM                     Thirty pages is not that long. Seven years to finnally get you guys talking about this being a reality is a long time. "Bond 21" in cyan, coming to a red light reader near you! Yours, Ted  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 03-31-2004 02:40 PM                        I think I'll play that with white light, in my cat 699, just for fun. Seven years for movement, in either direction, with few notable technological advances is a long time!  |  IP: Logged

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