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Author Topic: Largest Permanent Screen Ever Installed in a Everyday Working Theatre Larry Shaw Expert Film Handler Posts: 238 From: Boston, MA, USA Registered: Mar 2000 posted 10-07-2005 09:33 AM                        Joe, As they currently have no mag or DTS reader I'm assuming 8/70; but installing a 70 DTS reader is of course simple. They apparently had stopped running 70 for quite a while; but I'm happy to hear its returning. Larry  |  IP: Logged John Vincent, Jr. Film Handler Posts: 16 From: Eastham, MA, USA Registered: Jul 2003 posted 10-07-2005 11:49 AM                        Our screen at Wellfleet DI is 100' X44'. I believe on the east coast both Delsea DI and Bengies DI have something like 120' by 51' Supposedly there was one bigger on the west coast, don't know where.  |  IP: Logged David Kilderry Master Film Handler Posts: 355 From: Melbourne Australia Registered: Sep 1999 posted 10-08-2005 08:56 AM                        The Village Knox Cinemas (16 screens) in Melbourne have a 100 ft screen in their V-Max auditorium. It is 70mm equipped, but runs 35mm scope at the full width of 100 ft. It has a Cinemeccanica Vic 8 with refrigerated water-cooled gate. It was running a 10,000 watt xenon lamp, but has been reduced to an 8,000 watt unit. The 70mm projector is a Bauer U3. Hoyts new Blacktown multiplex in Sydney also has a 100 ft screen for 35mm scope.  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 10-08-2005 04:25 PM                        Gentlemen: we are mixing our metaphors a bit here: Indoor Cinemas: 100 ft wide seems to be about maximum. Outdoor Theatres: 120 feet width was commonplace in the 1960's, with 145 and up being somewhat unusual. (yes, and with 13.6mm carbon or 4000 watt xenon.) Louis  |  IP: Logged Andrew McCrea Jedi Master Film Handler Posts: 645 From: Winnipeg, Manitoba, Canada Registered: Nov 2000 posted 10-08-2005 04:39 PM                        quote: David Kilderry The Village Knox Cinemas (16 screens) in Melbourne have a 100 ft screen in their V-Max auditorium. It is 70mm equipped, but runs 35mm scope at the full width of 100 ft. It has a Cinemeccanica Vic 8 with refrigerated water-cooled gate. It was running a 10,000 watt xenon lamp, but has been reduced to an 8,000 watt unit. The 70mm projector is a Bauer U3. What kind of lamphouse is running 35mm with an 8k xenon, while filling an 100' screen? How is the film not melting or warping?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 10-10-2005 08:01 AM                        quote: Andrew McCrea What kind of lamphouse is running 35mm with an 8k xenon, while filling an 100' screen? How is the film not melting or warping? Heat damage: Kodak Heat Damage Article Part 1 Kodak Heat Damage Article Part 2 An excellent SMPTE Paper by Kodak's Paul Preo was published in the September 1983 SMPTE Journal: "Projection Performance of Theatrical Motion-Picture Films Using Xenon Short-Arc Lamps". The paper notes that blistering of B&W silver image film occurs at a power intensity of 0.7 to 0.8 watts per square millimeter, and scorching of color films occurs at 1.00 to 1.15 watts per square millimeter. The most frequent cause of excessive power intensity is misfocusing the lamp to a "hot spot", or inadequate heat filtration (needed to remove damaging infrared energy from the light). Interestingly, this month will see the first major silver-image B&W release in a few years, "Good Night, and Good Luck", so care will be needed to be sure proper heat filtration is in place, and lamps are properly aligned and focused.  |  IP: Logged David Kilderry Master Film Handler Posts: 355 From: Melbourne Australia Registered: Sep 1999 posted 10-14-2005 12:23 AM                        Andrew, V-Max is a complete Cinemeccanica setup, lamphouse included. Lamphouse filters are in place and it requires absolute precision in xenon alignment. A combination of both laser alignment and manual adjustment occurs. A Spectra Cine light meter is used along with electronic (laptop) driven system for light readings. A good deal of research was conducted during initial design to push the boundaries as far as possible. A large amount of it consisted of Kodak and SMPTE data and papers, along with older research conducted into lighting 130 foot-plus drive-in screens with 35mm. Early tests (on test film - junk prints) certainly resulted in buckling and scorching/fading of prints. The combination of a refridgerated water cooled gate along with a dichroic reflector, Isco Ultra Star HD Plus lenses, filters and precise alignment combine to deliver the current presentation. Until recently, Village were the largest cinema operator in the world outside of the USA. If you every have the chance to grab a ticket to one of the 800 seats in V-Max, do so it is amazing.  |  IP: Logged John Koutsoumis Master Film Handler Posts: 261 From: Melbourne, Victoria, Australia Registered: Aug 2003 posted 10-14-2005 08:18 AM                     I have not personally visited the V MAX screen, there are now 2 here in melbourne. But I have heard some pretty damning reviews about the awful picture. Apparently they are also not worth running in terms of costs. Village City Centre #1 was big enough for me but now the presentation there is awful. Used to be awesome for a 60-70 ft screen. Why don't Village Roadshow Distribution strike a 70 mm print of new feature and do a trial. See if they can pull in the masses, I doubt they would loose money. No point in saying a new Cinema is 70 mm equipped and not run the format  |  IP: Logged David Kilderry Master Film Handler Posts: 355 From: Melbourne Australia Registered: Sep 1999 posted 10-14-2005 10:23 AM                        John, with respect, you can hardly comment without seeing them for yourself. Knox V-Max measured 12fl on scope and 10.5fl on w/s with new lamps in 2003. I can't comment with actual specs today as I no longer work for Village. Last time I saw a film in there it was down on light a little, but there are several complexes belonging to Village's competitors that are so dark a dolphin torch would do better! There would be over 100 screens in Melbourne with less light than that regardless of screen size. In terms of size, VCC 1 was good in its day (1986) and is still not bad, but Village alone in Melbourne have larger screens at Jam Factory, Southland, Knox, Century City, Karingal, Sunshine and Fountain Gate. With regard to 70mm prints, we can only hope. Village equipped Rivoli 1 and Knox 1 with 70mm to be ready in case another Titanic or Hamlet came along. A blow up as a one off would cost the earth, the only lab doing mag today that I'm aware of is in France. A DTS track needs more than just a local distrib. on board to organise. Knox in my opinion is Australia's best multiplex. V-Max, Gold Class, Europa and the mainstream screens are all of a very high standard. The Wow factor starts at the front and the foyer is massive. It is well worth a look.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 10-14-2005 10:56 AM                        Generally, any hope of having 70mm prints of a current release depends on prorating the cost of multiple prints to make the required blow-up 65mm duplicate negative and DTS time code negative. Since the prints are made on slower printers and processed on slower processing machines, the per-foot cost of actually making each print is somewhat more than twice that of 35mm prints. Kodak sells 70mm print film for essentially twice the price per foot of 35mm print film. Most of it today is used for 15-perf format 70mm prints.  |  IP: Logged Phillip Grace Expert Film Handler Posts: 164 From: ACMI. Melbourne. Australia. Registered: Mar 2004 posted 10-14-2005 10:33 PM                     A bit off-topic, but I think that the high cost of a 70mm print could be well justified, based on a choice of feature with a long release life, printed on polyester base low-fade stock and with a durable digital sound format of some kind. Dare we hope that 70mm prints would only find their way into venues where the operators had sufficient skill to screen them for extended seasons without damage? Our big screen is about 60ft x 50ft, but we dont use that much of it every day. It does have quite an elaborate masking system (24 presets) to cope with all shapes and sizes of picture. The curved truss for the bottom masking for that span is, I'm told, made of carbon fibre.  |  IP: Logged David Kilderry Master Film Handler Posts: 355 From: Melbourne Australia Registered: Sep 1999 posted 10-15-2005 08:09 AM                        Phil, I heard you were running Poltergeist last night in 70mm. Could it be the same print you and I worked on all those years ago on its initial release in Russell 6? I share your concerns about experienced 70mm projectionists, but I thought something like the LOTR Trilogy or even the upcoming King Kong would lend itself to the format.  |  IP: Logged Phillip Grace Expert Film Handler Posts: 164 From: ACMI. Melbourne. Australia. Registered: Mar 2004 posted 10-15-2005 10:13 PM                     Hi, David. Yes I reckon its the same copy all right. Its gone a very fetching shade of magenta. Definitely a "Heritage Print". I think it contains my first ever 70mm cement splice, made under the close supervision of Bob Costello. LOTR would be a good choice for 70mm release. Extra light and added depth to the magnificent landscape! That production will surely be around for many years yet. How about a re-release including all the exta footage? (and an Intermission) Cant wait to see he's done with King Kong. Cheers.  |  IP: Logged John Koutsoumis Master Film Handler Posts: 261 From: Melbourne, Victoria, Australia Registered: Aug 2003 posted 10-16-2005 06:46 AM                     David you are right, I can't comment on V Max but i'll try and get out there sometime. VCC#1 is still the biggest for in terms that it feels big when your there. No other Cinema in Melbourne feels like that, v-max excluded. But forget Village the Forum Theatre upstairs (rappalo?) is the best. Bright picture and top notch Klipsch soundsystem that patrons going to village and hoyts can only dream about. I spent quite a bit of time up in the box during MIFF this year. If only the screen was bigger. In regards to striking 70 mm prints, well you gotta spend money to make money. Isn't the Box office here down 14% or so. I used to go 2-4 times a week to Cinemas now since coming back from overseas in mid may I have only been twice, once for Sin City at Sunshine, where I missed two key scenes because I had to sprint a mile to ask for obvious probelms to be corrected and secondly was 2001: A Space Odyssey at the Astor Theatre. At least that was in 70 mm and George Florence personnaly been the wheels ensured a smooth show. Great night Poor choice of films and presentation equally have kept me away.  |  IP: Logged

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