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This topic comprises 3 pages: 1 2 3
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Topic: nitrate still in circulation (aka Columbia Pictures and ETS/DFS, you suck!)
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 12-27-2007 05:56 PM
At present they are not on line with motion pictures so they don't run anything at this facility. However, I would think the sky is the limit on what they could show. Anything submitted for copyright is viable for the venue.
The Library of Congress has two fucntional theatres on line in Washington, DC proper. The main theatre is the "Pickford" located in the Madison building. The other theatre is in the Jefferson Building...the Coolidge Auditorium. The Pickford is equipped for 16-70mm presentations while the Coolidge is just set up for 35mm and is rarely used by the film division. I recall screening a silent film there with an orchestra...something the Pickford would be poor at doing. There was another screening room, the Mumford (also in the Madisdon Building) but it was decomissioned in favor of the Coolidge (equipment moved).
In any event...more directly to your questions, they can take everything into their collections...that does not mean everything is in there though.
For sound formats in the theatres we are handling, optical sound 35mm (just the standard stuff, not the obscure ones) from mono up to Dolby-SR, Dolby Digital, DTS-Digital (35 and 70mm), 16mm optical and magnetic (mono). 35mm and 70mm magnetic.
As for 3D, yes and no. The screens are white but that is certainly changable or one can set up a silver screen in front of the main screen for a special event. Due to the nature of being a QC facility and the need for frame-for-frame simultaneous projection two reels, they are inherently 3-D machines as well. In the main auditorium, they will be capable of a 3-D changeover (one pair changing over to the other pair). So think of it as 3-D capable but not on a moment's notice.
As to pictures...maybe...I'm sure that would be subject to whomever controls the public presentation of the facility. If you see me post any in the pictures section then you can presume I had permission to do so. I feel safe on the picture above as it could by ANY facility.
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John Hawkinson
Film God
Posts: 2273
From: Cambridge, MA, USA
Registered: Feb 2002
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posted 12-28-2007 11:13 AM
Scott wrote, "There may be something else in 520 CMR 3.00, but I don't have my copy handy at the moment. Maybe jhawk or someone else familiar with the law can chime in here.¨
I would agree with Steve that you can probably weasel out of this with the word "public," and that the local authority is probably most relevant. Also, you could think of it as a $500 permitting fee, which is not unreasonable ![[Embarrassed]](redface.gif) .
It turns out that 520CMR3 is now on the web, courtesy of the Department of Public Safety. Seems to be a new development.
FWIW, the Lexis/Nexis notes have nothing useful to say about 143 MGL 89, other than to note that ``The 1971 amendment, inserted the words "or larger" after the words "thirty-five millimeter" in the first sentence, and increased the fine from not less than ten nor more than fifty dollars to not less than fifty nor more than five hundred dollars.''
Anyhow, I have to wonder if you were suckered, Scott. I hope, regardless, if you really thought it was nitrate, you included a big note taped securely to the film and its can explaining that you thought it was nitrate, what that meant, and what you cut to burn...
--jhawk
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 12-28-2007 11:30 AM
quote: Steve Guttag
In any event...more directly to your questions, they can take everything into their collections...that does not mean everything is in there though.
Do they only take material of American origin into the collection, or from elsewhere in the World as well?
I found a website with a bit of information about the place; I have a better idea of what it is now. It's really quite similar to the The J Paul Getty Jnr Conservation Centre of the BFI here. web page Though there are some differences. This place has several very large vaults, where safety film, videotape and small quantities of other media are stored, there are also smaller vaults for the storage of colour film, and a very limited storage facility for nitrate, just a handful of small vaults for material actually being worked on at the time; the main nitrate vaults are elsewhere, at a site at Gaydon, in Warwickshire. The new LOC facility will have the lab facilities to handle colour film, whereas the BFI one does not, unless things have changed since I was last there, all colour printing is sent out to commercial labs. There's not much of this though, the vast majority of their film work is black and white. They have comprehensive workshop and lab facilities for the restoration and printing of black and white film. Elsewhere on the site they have storage for paper-based materials, books, scripts, posters, etc., which again seems similar to the LOC facility. There are two small preview theatres there, one of which is equipped for nitrate. None of these facilities is generally open to the public, though it is possible to be shown around on occasional open days. I don't hink the public are ever admitted to the nitrate vaults at Gaydon; I've never even seen a picture of them.
The main facility which the BFI has for screening films to the public is at the NFT in London. The original auditorium is NFT1, which I think seats about 400, though it was reduced somewhat some years ago. The much smaller NFT2 was added in about 1970. What used to be the Museum of the Moving Image Cinema is still there, and is now known as NFT3. The NFT3 name was previously used for a very small screening room upstairs, but the equipment was removed from this some years ago, and I think it is now an office. They've recently opened a new small screening room called the 'Studio', but I haven't seen inside this yet. The three main theatres are all equipped for 16 and 35mm film, plus digital and various video formats. NFT 1 and 3 are also equipped for 70mm. NFT 2 and 3 were both equipped for 3-D but NFT3 has been re-equipped, and I'm not sure if it still is. NFT1 and 2 were equipped for nitrate, but it is unclear whether either or both still are. The BFI also have a building at Stephen Street, in central London, which houses the library, and private viewing facilities. A small part of the library collection is shelved in the reading room, more is elswhere in the building, and will be brought to the reading room on request, which usually takes less than half an hour when I've been there, but if you need access to material stored at the main conservation centre, at Berkhampstead this can take a few days.
The LOC seem to be aiming to bring everything onto one site, whereas the BFI have things spread around more. I'm not quite clear as to the purpose of the theatre there; it is said to seat 200, which seems rather large for their own use, but rather too small or some public shows. How large are the auditoria of the theatres in DC?
They seem to have similar problems with ever-changing videotape formats to those at the LOC; they started transferring 2" Quad material to 1" 'C' format, but before they completed this that format had itself become obsolete, so they started using D3. Since the material was in composite form to start with I suppose a composite digital format made some sense. I don't know what format they're using now.
quote: Steve Guttag
For sound formats in the theatres we are handling, optical sound 35mm (just the standard stuff, not the obscure ones) from mono up to Dolby-SR, Dolby Digital, DTS-Digital (35 and 70mm), 16mm optical and magnetic (mono). 35mm and 70mm magnetic.
You say theatres (plural), but the only one I've seen mentioned on that site is the 200 seater; are there others? You also mention 70mm, But the picture you showed was of a FP-38EQ, which doesn't handle 70mm. Are the 70mm machines elsewhere, or are there other machines in this theatre, 2x 16/35 and 2x 35/70 maybe?
quote: Steve Guttag
As for 3D, yes and no. The screens are white but that is certainly changable or one can set up a silver screen in front of the main screen for a special event. Due to the nature of being a QC facility and the need for frame-for-frame simultaneous projection two reels, they are inherently 3-D machines as well. In the main auditorium, they will be capable of a 3-D changeover (one pair changing over to the other pair). So think of it as 3-D capable but not on a moment's notice.
As to pictures...maybe...I'm sure that would be subject to whomever controls the public presentation of the facility. If you see me post any in the pictures section then you can presume I had permission to do so. I feel safe on the picture above as it could by ANY facility.
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Though the LOC projectors are more sophisticated (EQ versus ES) than the AFI's, the theatre's system design is nowhere near the AFI's. The LOC, being a typical government job, went for a "turn-key" design. I've yet to meet the A/V house that could design a good cinema system...they just don't get it. The AFI had the benefit of the projection/sound being heavily designed by Boston Light and Sound and separate disciplines were kept separate but equal. Thus, each can have the specialists that they need to get optimal performance...there were three separate systems (film projecton/sound, Control-A/V-PA, and Broadcast/Video), none are dependant on the other but all work seamlessly with each other and augment each other. 
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