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Topic: New Possible Upcomming 70mm Release From New Line Cinema

Ron Lacheur
Jedi Master Film Handler

Posts: 650
From: British Columbia, Canada
Registered: Feb 2002

posted 07-09-2004 12:02 AM

Let's hope the chains don't have 70mm commericals struck. Finally a show without commericals!!

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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 07-09-2004 12:09 AM

Nothing two ads and a few rolls of splicing tape can't fix.

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Steve Kraus
Film God

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

posted 07-09-2004 07:04 AM

Of course you will use some of that tape to add a perf to each frame. Don't forget to slice 5mm off on account of the 65mm perforations of 70mm MP stock (whether you want to add 2.5 back down each side is optional).

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

posted 07-09-2004 08:02 AM

"Remember TITANIC was a super35 blowup and the 70mm prints looked better than the 35mm"

Ditto for "True Lies". It was one of the best looking super 35 films I've ever seen.

Mark

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John Pytlak
Film God

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

posted 07-09-2004 08:53 AM

Super-35 "done right" can certainly offer excellent image quality. 70mm prints offer superior quality on very large screens:

http://www.kodak.com/US/en/motion/newsletters/pytlak/dec98.shtml

quote:
In the Splendor of 70mm": For some, that phrase conjures up childhood memories of standing in a line that stretched around the downtown block. When the theatre doors opened, hundreds filed in, politely rushing for their favorite seat. As the curtains on the huge 60-foot screen opened, the screen filled with clouds and you heard the whistle of the wind around you as you flew through the passes of the Austrian Alps. Finally you came toward Maria, and the hills and the theatre are alive with The Sound of Music. Then as the family sang "Do-Re-Mi" in the car during the ride home, you wonder why that movie looked and sounded so much better than the films you usually saw at your neighborhood theatre. Somehow, "In the Splendor of 70mm" on the marquee usually meant something special, even if the movie was more to your mother's taste.

As you grew older, you sought out that special experience again and again, with movies like 2001-A Space Odyssey and Patton, then Star Wars and Apocalypse Now. You took your kids to E.T.: The Extraterrestrial and Indiana Jones and the Last Crusade, even if it meant driving across town to see the movie in 70mm....

http://www.kodak.com/US/en/motion/newsletters/pytlak/march99.shtml

quote:
As good as theatres and movie sound are getting today, something is often missing. The "Roadshow" films of the '50s and '60s had it. The"event" films of the '70s and '80s had it. It isn't digital sound- although the premiere of Oklahoma! sounded very good with the six-channel analog magnetic sound and tube amplifiers of its day. It isn't a bigger screen-today's 75- and 80-foot wide screens even surpass the famed huge screen at Radio City Music Hall. It isn't a big lamp-today's 6000-watt xenon arc lamphouses produce more light than most of the carbon-eating monsters of the past. It isn't a lack of good movies-every era has its block-busters, and we've been fortunate to have a lot lately. In case you haven't guessed, what's often missing today is "The Splendor of 70mm."

Recent Trend to Larger Screens and Closer Viewing Distance
Recent trends in theatre design have emphasized larger wall-to-wall screens with the audience sitting closer to the screen, so it fills their field of view. Every new megaplex boasts one or more screens wider than 50 feet, with some over 70 feet wide! Wider screens and closer seating layouts mean that the distance from the projector to the screen is decreasing, requiring very short focal length projection lenses with very shallow depth of focus, magnifying any projector unsteadiness or focus problems....

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Michael Coate
Phenomenal Film Handler

Posts: 1904
From: Los Angeles, California
Registered: Feb 2001

posted 07-09-2004 02:55 PM

quote: Mark Gulbrandsen was the last to post
Remember TITANIC was a super35 blowup and the 70mm prints looked better than the 35mm.

quote: Mark Gulbrandsen
Ditto for "True Lies".

quote: John Pytlak
Super-35 "done right" can certainly offer excellent image quality. 70mm prints offer superior quality on very large screens

I agree.

There have been quite a number - more than some may realize - of Super 35 productions blown up to 70mm with most, in my opinion, looking superior to their 35mm counterpart.

http://www.in70mm.com/lists/blow_up/index.htm

Greystoke: The Legend Of Tarzan (1984)
Baby: Secret Of The Lost Legend* (1985)
A Chorus Line (1985)
Enemy Mine* (1985)
Revolution (1985)
Silverado (1985)
Absolute Beginners (1986)
Manhunter (1986)
Top Gun (1986)
Beverly Hills Cop II* (1987)
Cry Freedom (1987)
Alien Nation (1988)
Kansas* (1988)
Shoot To Kill (1988)
The Abyss (1989)
Black Rain (1989)
Air America (1990)
Backdraft (1991)
Bird On A Wire* (1990)
Point Break (1991)
Star Trek VI (1991)
Terminator 2 (1991)
Howards End (1992)
The Remains Of The Day (1993)
Short Cuts (1993)
True Lies (1994)
Independence Day** (1996)
Titanic (1997)
Godzilla** (1998)

*Unconfirmed 70mm release
**Not "released" in 70mm; 70mm special screenings only

And, arguably, the use of Super 35 can improve the look of 1.66:1 and 1.85:1 productions if blown up to 70mm. Some examples include:
Dance Craze (1981)
The Little Mermaid (1989)
The Bonfire Of The Vanities (1990)
Dick Tracy (1990)
The Godfather Part III (1990)
The Two Jakes (1990)
Beauty And The Beast (1991)
The Lion King (1994)
Pocahontas** (1995)
The Hunchback Of Notre Dame** (1996)
Mulan** (1998)

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Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001

posted 07-09-2004 05:39 PM

quote: Michael Coate
And, arguably, the use of Super 35 can improve the look of 1.66:1 and 1.85:1 productions if blown up to 70mm.

I remember the ads Clairmont Camera ran in American Cinematographer where they referred to the format at "Super 1.85".

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Paul Linfesty
Phenomenal Film Handler

Posts: 1383
From: Bakersfield, CA, USA
Registered: Nov 1999

posted 07-09-2004 08:39 PM

deleted due to duplication below.

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Paul Linfesty
Phenomenal Film Handler

Posts: 1383
From: Bakersfield, CA, USA
Registered: Nov 1999

posted 07-09-2004 08:39 PM

quote: Paul Linfesty was the last to post
Let's hope the chains don't have 70mm commericals struck.

I remember seeing an L.A. Times ad in 70mm that showed before "My Fair Lady" at the C/O Century Plaza #2 back in the 90's.

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Frank Angel
Film God

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

posted 07-09-2004 10:36 PM

Let me get this straight....these guys were showing a 70mm engagement of MY FAIR LADY which had to be the roadshow version, and they ran an freakin ad before it? The swine. That's about as classy as a rest room without toilet paper.

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

posted 07-09-2004 10:58 PM

"even if it meant driving across town to see the movie in 70mm...."

My first 70mm experience was when my Dad took the family to the Michael Todd Theatre to see "Sound Of Music". It made such a HUGE impression on me back than that as a Jr. High school student I ocassionally traveled to downtown Chicago on the train with a friend to see Roadshow films shown in 70mm at the Cinestage, or Michael Todd Theatre, or at the UA Cinema 150. Krakatoa, 2001, Song Of Norway, Apocolypse Now, and many others.... I must have just about seen them all! The picture and sound quality never let me down. Later on in life and before I worked in this industry I would drive to where ever a 70mm film was playing around Chicago to see it. When I worked for Panasonic I drove home every night past a great 70mm theatre, the Oakbrook, that played Star Wars and I must have seen it there a dozen times on my way home. John is right that people want and deserve this quality and will go out of their way to get to it.

The biggest problem today is getting across to an entirely new generation exactly what 70mm is and what the difference is that they will see and whay they should see the film in that format and so on. This new generation has never experienced a big event film in 70mm before and it will be up to technical people and sharp marketing folk to get it across through proper ads if a 70mm comeback is to ever be sucessful.

Mark

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Paul Linfesty
Phenomenal Film Handler

Posts: 1383
From: Bakersfield, CA, USA
Registered: Nov 1999

posted 07-10-2004 12:12 AM

quote: Frank Angel
these guys were showing a 70mm engagement of MY FAIR LADY which had to be the roadshow version

Well, everything else went wrong with this presentation. Act I ended, and the theatre's intermission music came on, but the curtains stayed open and the house lights remained off! After about 5 minutes, curtains closed and warmers and houselights came on. However, the curtains opened and warmers faded out at the beginning of the Entracte! House lights stayed on at full. When Act II faded in, the frameline was almost in the center of the image. House lights were still on full for about a minute. Apparently, their first priority was to get the lights off instead of quickly correcting the framing. They finally got the lights turned off after about a minute and THEN adjusted the framing! At least everything worked...UNTIL the last 10 minutes of the film, when the center speaker went out. Fortunately, the dialog was directional, so much of the time we could actually catch some of what was being said. And to get an idea how Act II ended, refer up to the ending of Act I

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Darren Briggs
Master Film Handler

Posts: 371
From: York, UK
Registered: Dec 2001

posted 07-11-2004 04:02 PM

If new prints are released, modern 35mm stock blown up to 70mm as in 'Titanic' should look great. Scope shot films like look even better.
Any new 70mm prints would be great, and in turn it may make the studios realise that they could shoot on 65mm for the big budget films. Just imagine Moulin Rouge if shot on 65mm!

I say BRING IT ON~!!!!

I would make sure the staff get holdof som eold 70mm print to rehearse screening 70mm on though!

From the 5 sites I have that can and do run 70mm, its the young staff that want to run 70mm, the old folk think of the weight of the print and can't be arsed at times!
THey even moan at DLP because its all a bit modern! (and can be a major hassle)

Darren

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Thomas Procyk
Phenomenal Film Handler

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

posted 07-13-2004 10:41 AM

A recent movie I was thinking of that would have looked stunning in 70mm would have been Kill Bill. If I'm not mistaken, a lot of this was shot with true anamorphic, and it shows! Near the end of the first film, where Uma Thurman is hacking apart "The Crazy 88s" before she goes after Lucy Lu -- the sharpness and detail is incredible, and sometimes the color looked borderline IB-Tech. (before and after the B/W scenes, of course) When they did an overhead shot of the floor with all the bloodied bodies, you could see the faces of each one of the actors. Incredible!!

Anyway, I wonder what New Line is cooking up. I even thought of the fact that Warners owns almost all the old MGM titles, so maybe they're looking to reprint some of the classic 70mm releases? Or are they just blowing smoke up our ass?

Would be funny if they asked all these theaters if they can run 70, and end up sending everyone a DMR print. [Razz]

=TMP=

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Richard Fowler
Film God

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

posted 07-13-2004 10:49 AM

When I was living in Los Angeles in the early 70's we ran the L.A. Times ad regardless if we had other trailers or not. It was part of the co-op deal for ad space in the newspaper.

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