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Topic: Cyan Tracks
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 04-20-2004 08:17 AM
Silver facts:
http://btech.lunarpages.com/btimining/articles.php?lng=en&pg=29
quote:
About 1/3 of the silver produced worldwide is used in photography.
quote:
The market price of silver hit $50.35 per ounce in January 1980.
Silver market speculation:
http://www.eia.doe.gov/oiaf/servicerpt/derivative/chapter8.html
quote:
best real-world example of such a strategy is the infamous manipulation of the silver market by the Hunt family (and others) who at one time held about $14 billion worth of silver. In January 1979, before the market manipulation, silver was selling for about $6 an ounce. Then in 1979, the Hunts began to buy silver futures and demand delivery (i.e., they cornered the market). At the same time, they bought large quantities of silver and held the physical silver off the market (i.e., the market was squeezed). As a result, in January 1980 silver prices reached about $48 an ounce. Then, the regulators and the exchanges instituted “liquidation-only trading.” That is, traders were only allowed to close existing contracts; they could not establish any new positions. This forced traders (the Hunts and others) to exit the market as existing contracts became due, so that the manipulators could not continue to accrue large numbers of contracts and were gradually forced to withdraw from the market. The day after the rule was passed, silver prices fell by $12 per ounce, and by March 27, 1980, they fell to about $10 per ounce.
Market corners and squeezes are illegal, but hard to prove. In fact, the Hunts, their co-conspirators, and their brokers were sued, and a $200 million judgement was awarded. The brokers and Lamar Hunt paid about $34 million and $17 million, respectively. The remaining amounts were never collected, because the other parties declared bankruptcy.
Silver market prices:
http://www.kitco.com/charts/livesilver.html
Silver prices have risen considerably the past year, from a low of about $4.48 to recent peaks of $8.29 per ounce.
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Daniel Alt
Expert Film Handler
Posts: 111
From: Lakewood, OH, USA
Registered: Mar 2004
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posted 04-20-2004 10:18 AM
quote:
Ya know...if nothing else good came out of the last Presidential election, the world now has a name to call the material that has been punched/perforated out of a larger piece of the same material...the Chad.
Slightly off topic, but very interesting... Those little bits were around long before the name "Chad." A man named "Chadless" invented a punch that DIDN'T generate them, and it was named after him. After that, it was only logical that if a Chadless punch DIDN'T produce those bits, then they must be called...
Oh, er, and Cyan tracks stink. Or maybe they're awesome. Whatever, just to go back to the topic.
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Ted Costas
Expert Film Handler
Posts: 119
From: Hollywood, CA, USA
Registered: May 2000
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posted 04-21-2004 06:30 PM
Steve,
Dolby, Dolby, Dolby. Are we really the enemy? It's funny, but I have been involved in this project for a few years now... even before I came over to the Dark Side, Dolby Labs (insert theme music here). I was interested in this because of the environmental benefits, and because of the improvement in image quality (forgive me if I keep repeating myself). Also, the magnitude of the effort, converting theatres and convincing Studios, made all this very interesting.
So I asked our President the other day, I call him Bill, you can call him Darth, if we make any money off of the sale of red LEDs... after we finished smoking the cuban cigars and counting all the money... please! Bill laughed at me. Yes, our President laughed in my face. Dolby does things to benenfit the industry because we can. It makes us look good. And in a competitive industry like ours, it's good to look good. Right? The margins here are insignificant. If there was so much money to be made in red LEDs, you'd think there'd be suppliers up the wazoo. There are alternatives to Dolby, just like in soundtrack playback.
Remember TASA? I was working for Lucasfilm, THX, back then, and Dolby sold the machine that measures the "average volume" for measuring a trailers' upper volume limit. How much money did the dark side make on that? Enough for two Dolby employees to win Technical Achievement Academy Awards. Now Steve, why didn't you scream back then, "But they sold nearly eighty of those boxes!" With TASA, and Cyan, Dolby is there to facilitate the transition. And we're not alone. Kodak and NATO have been our partners in this successful venture, and the various members and attendees of the Dye Track Committee meetings have had input as well.
My salary has not gone up one cyan cent because of Dolby's red LED sales. Yet, I do get a bonus everytime I mention "Dolby" more than three times in a sentence.
Cyan Rules!
Dolby, Dolby, Dolby!
Yours, Ted
The Dark Side
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Larry V. Price
Film Handler
Posts: 7
From: Shoreline. WA USA
Registered: Mar 2004
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posted 05-07-2004 01:43 AM
Can anyone advise me about the use of red readers with analog mono tracks, especially variable density tracks? I am the Lead Projectionist at the Seattle Art Museum. We are a 2,000 foot reel manual booth and usually show films from the 1930's, 40's, and early 50's. We do, however have a few (4 or 5 per year) rentals with new product. We are ready to order red readers, but as 95% of our product is 1.33:1, black & white, mono film and often with variable density as opposed to variable area soundtracks, I would hate to screw up the bulk of of our screen time, as sound quality is now excellent. If it makes any difference; we have Simplex SH 1000 soundheads, a Dolby CP65, Altec speakers, biamped with Crown amps.
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 05-07-2004 02:25 AM
quote: Larry V. Price
Can anyone advise me about the use of red readers with analog mono tracks, especially variable density tracks?
Time to duck and cover, folks, especially if Steve and William get going on this. The issue has been discussed ad nauseam - earlier in this thread, I think.
As an attempt at summarising the perspectives which came out of it, I think it would be fair to say that in many installations, red readers result in a slight drop off in HF response and slightly increased sibillance. Personally I've never felt it to be so bad as to affect my enjoyment of a film as a customer - other variables such as the B-chain setup and the acoustics of an auditorium can be just as important, if not more.
I once worked in an arthouse venue which showed a high proportion of arthouse prints, and ran the occasional show in a university theatre in the same town. The arthouse had red readers; the university did not. Occasionally the same print would play at both venues, giving me some chance to compare. I didn't think VD prints had the biggest problem with red readers (though a poorly graded/timed VD track will sound crap whatever it's played on). The only real problem were unilateral and RCA duplex VAs. In particular I remember one print of Pepé Le Moko (RCA unilateral VA with shuttered noise reduction) which sounded fine with the exciter. On the red reader it was muffled, the signal to noise ratio dropped through the floor and the HF was practically gone - it sounded like pillows had been stuffed into all the speakers and then the volume cranked up. If that film didn't have subtitles I'm sure we would have had complaints about unintelligible dialogue.
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