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

David Stambaugh
Film God

Posts: 4021
From: Eugene, Oregon
Registered: Jan 2002

posted 07-13-2004 12:36 PM

Edwards Theatres used to run those LA Times co-op ads. The ads were usually low-key, often involving some interesting piece of Southern California history. I don't recall ever seeing one run in 70mm at the Edwards Big Newport though.

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Michael Coate
Phenomenal Film Handler

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

posted 07-13-2004 12:51 PM

quote:
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!

Kill Bill was shot in (3-perf) Super 35 and went through a digital intermediate.

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John Pytlak
Film God

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

posted 07-13-2004 01:32 PM

"Super-35" can be "Film Done Right". But generally, "Size Does Matter", and the larger the image area on the negative, the better.

For 2.39:1 "scope" release:

Image Area for anamorphic: 0.825 x 0.690 inches (0.569 sq in)

Image Area for "Super-35": 0.945 x 0.394 inches (0.372 sq in)

But for 1.85:1 "flat" release:

Image area: 0.825 x 0.446 inches (0.368 sq in)

Image Area for "Super-35": 0.945 x 0.511 inches (0.482 sq in)

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Bobby Henderson
"Ask me about Trajan."

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

posted 07-13-2004 05:17 PM

"Kill Bill" also did not reveal any of the tell tale signs of anamorphic lens use. If a movie is shot with anamorphic lenses you can almost always spot the various optical artifacts of the process.

Incidentally, I was watching "In Cold Blood" on the Turner Classic Movies channel last night. I wondered how a well photographed black and white 'scope movie would look transferred to 70mm prints (or something shot black and white on 65mm).

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Steve Kraus
Film God

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

posted 07-13-2004 06:19 PM

...like (most of) Tron.

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Michael Coate
Phenomenal Film Handler

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

posted 07-13-2004 06:27 PM

quote: Bobby Henderson
I was watching "In Cold Blood" on the Turner Classic Movies channel last night. I wondered how a well photographed black and white 'scope movie would look transferred to 70mm prints.

In Cold Blood had 70mm blow-up prints...but apparently not in the U.S. Ditto for The Longest Day ('69 D-Day anniversary re-release). I've seen neither, so I cannot comment on their visual quality.

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

posted 07-13-2004 07:53 PM

"I wondered how a well photographed black and white 'scope movie would look transferred to 70mm prints (or something shot black and white on 65mm)."

I saw In Harms Way in 70mm when it came out originally. There is still a 70mm print of it available through Sony Classics.

Mark

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Bobby Henderson
"Ask me about Trajan."

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

posted 07-14-2004 01:58 PM

I was aware of "Tron" being shot on 65mm black and white stock (and then transferred to giant Kodaliths). But "Tron" is not quite the same thing. The live action plates in "Tron" were shot in a manner to flatten out as much of the shadows as possible. That was part of the process in getting the costumes the actors wore to work properly in the glowing visual effects process.

The lighting technique of "Tron" is pretty much the exact opposite of what you want to do when filming a movie that is going to be shown in black and white. IMHO, "In Cold Blood" is a really great looking black and white movie. Conrad Hall did an excellent job of lighting and photographing that one. The shadow detail is particularly strong. As I watched it on TCM, I got to thinking that movie would look really good on a giant screen with a newly struck 70mm print. The highlights would be very bright and blacks very deep, not grey.

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Bill Gabel
Film God

Posts: 3873
From: Technicolor / Postworks NY, USA
Registered: Jan 2002

posted 07-14-2004 02:23 PM

We ran a print of "In Harm's Way" in 70MM, a few years ago at the Fairfax Theatre in Los Angeles. We had to watch the focus on it. By the way the print of "In Harm's Way" came from Paramount Pictures.

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Thomas Procyk
Phenomenal Film Handler

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

posted 07-14-2004 04:14 PM

quote: Michael Coate
Kill Bill was shot in (3-perf) Super 35 and went through a digital intermediate.

Hmmm. My mistake. I thought I read an article where Tarantino was pissed off at Super35 because of the results of Casino and Reservoir Dogs and insisted on using Anamorphic for Bill -- but it went on to say they ended up doing what you said (the digital intermediate) despite what he wanted.

The media distorts the facts! [eyes]

=TMP=

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Paul Linfesty
Phenomenal Film Handler

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

posted 07-14-2004 05:28 PM

quote: Bobby Henderson
I was aware of "Tron" being shot on 65mm black and white stock

All the 65mm shot material was done with color stock. The monochrome material (inside the video game) was shot using the 35mm Technirama format.

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Michael Coate
Phenomenal Film Handler

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

posted 07-14-2004 07:13 PM

quote: Paul Linfesty
All the 65mm shot material was done with color stock. The monochrome material (inside the video game) was shot using the 35mm Technirama format.

According to what source(s)???

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Mark Lensenmayer
Phenomenal Film Handler

Posts: 1605
From: Upper Arlington, OH
Registered: Sep 1999

posted 07-14-2004 08:01 PM

From Thomas Hauerslev's In 70mm site, a quotation from Rob Hummel, who was lab coordinator and post-production supervisor for TRON:

quote:
"Tron" was shot 65mm 2.2:1 aspect ratio for all scenes. 65mm color for all the "real world material," and 65mm Black and White for all the material that was later composited into the "electronic world". All of the material was composited into VistaVision before being blown up to a 65mm IP which was intercut with the IP struck from the cut 65mm EK negative. All of the CGI material from MAGI and Triple I was recorded out to VistaVision and was intercut with all of the other composited material. "The Making of Tron" book has a very accurate flow chart of how the film was all put together. While there were a couple of anamorphic shots, and a couple of full aperture ("Super 35" before it was called that) cuts, the entire film, for all intents and purposes, was originated on 65mm film.

Has anyone any new information on the possible New Line 70mm release? My money's still on a short run of ROTK or some combination of LOTR.

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Steve Kraus
Film God

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

posted 07-14-2004 08:16 PM

65mm Double-X Black & White
Source: Cinefex #8

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

posted 07-14-2004 09:34 PM

Kodak will make you anything if you order enough of it.

Mark

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