Film-Tech Forum ARCHIVE: Pan and Scan 'Painted Veil'

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Topic: Pan and Scan 'Painted Veil'

Stephen Furley
Film God

Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002

posted 05-20-2007 05:38 PM

quote: Caleb Johnstone-Cowan
You're right, but because of digital distribution loads of people will have now seen Lye's work and hopefully be interested. I'd never have encountered these shorts if they hadn't been in front of a feature at work.

We've received our copy on film, though we will be running the feature in digital. We don't run it until about a month from now, so the short has come very early.

Digital distribution hasn't really got anything to do with it, good or bad; the fact that this film, and I hope other shorts in future are being got into cinemas is good, but that could be done on film, either now or in the past. Digital has not enabled these films to be shown. The cost of making a small number of 350 foot 35mm prints isn't very great. We haven't so far run anything in digital which we couldn't have run on film, though some cinemas have, e.g. the live opera relays from New York. Whether the image quality is better on digital is open to debate. The sound quality is better, assuming that a high quality track exists; with something like the '30s mono track on 'A Colour Box' it's not going to make any difference.

The digital equipment will enable us to show video material, e.g. media students' work, with better quality than on the old video projector.

Is the cost of the DSN scheme worth the benefits we have gained? It's really too early to say; I thik maybe this scheme was introduced too early.

As to the question of running scope films on digital, two of the films which I've run on digital so far have been in his format; the others have been one each in 1.37, 1.78 and 1.85.

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Marcial Feliciano Ramos
Expert Film Handler

Posts: 108
From: Puerto Rico
Registered: Oct 2003

posted 05-21-2007 12:17 PM

I received a used 35mm scope copy but in excellent shape.

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Caleb Johnstone-Cowan
Jedi Master Film Handler

Posts: 593
From: London, UK
Registered: Mar 2006

posted 05-21-2007 01:40 PM

I concede to the above, you're right there's no reason shorts can't be in 35mm and I wish they'd do more of it. I think that with sponsorship it would be possible, guess the Orange gold spots could be expanded.

quote: Stephen Furley
Is the cost of the DSN scheme worth the benefits we have gained? It's really too early to say; I thik maybe this scheme was introduced too early.

There should have been more thought about where the DLPs went. Multiplexes need two minimum, one in the smallest screen and one in a medium screen say. Our site needs three.

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Amanda Mundin
Expert Film Handler

Posts: 122
From: Belper, Derbyshire, UK
Registered: Sep 2005

posted 08-18-2007 02:31 PM

We ran 'Ten Canoes' last week, another film delivered on digital in 16:9 aspect ratio when the 35mm prints I believe are scope.

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Jesse Skeen
Phenomenal Film Handler

Posts: 1517
From: Sacramento, CA
Registered: Aug 2000

posted 08-18-2007 04:43 PM

They should make "full screen" versions of all movies for theaters with common-width screens! [Razz]

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Cameron Glendinning
Jedi Master Film Handler

Posts: 845
From: West Ryde, Sydney, NSW Australia
Registered: Dec 2005

posted 08-18-2007 10:30 PM

quote: Amanda Mundin
We ran 'Ten Canoes' last week, another film delivered on digital in 16:9 aspect ratio when the 35mm prints I believe are scope.

They were beautiful sharp scope prints, I believe it was the first Australian 4k DI 35mm release .

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John Wilson
Film God

Posts: 5438
From: Sydney, Australia.
Registered: Dec 1999

posted 08-19-2007 02:34 AM

Hey Cameron

Can you please email me about this?

Thanks
John

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Brian Guckian
Jedi Master Film Handler

Posts: 594
From: Dublin, Ireland
Registered: Apr 2003

posted 08-19-2007 06:10 PM

quote: Amanda Mundin
We ran 'Ten Canoes' last week, another film delivered on digital in 16:9 aspect ratio when the 35mm prints I believe are scope.

This is a real cause for concern. And it's such a beautiful film too. Does anyone in Australia know anything about this? I.e., did the Director OK it?

The DoP composed for 'Scope. Going down to 16x9 could hardly have been intended during production.

What's going on here? This is not what D-Cinema is intended to do.

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