posted 07-23-2008 09:42 AM                    

quote:

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We were going to rent the print from Eastman House after jumping thru allot of hoops ....(can anyone tell me what's the highest, lowest and mean temperature in the area where you store your prints? How bout the humidity?). >Slightly edited quote from Frank Angel post<

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posted 07-23-2008 11:57 PM                    

quote: Ralph Martin

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so that the total width is .980” will it work

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posted 07-24-2008 05:16 AM                       

quote: Jim Cassedy

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For those who don't: EASTMAN HOUSE requires you to fill out quite a questionaire, I seem to recall it it was about 7 pages long, before they will let you rent a print from them.

As Frank sez in his message- it's all information necessary to insure the safety of their prints, but some of the questions get into some pretty fine minutia.

I think it took me almost 2hrs to fill the whole thing out due to the amount of research necessary to provide accurate answers.

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posted 08-01-2008 02:35 AM                    

quote: Steve Guttag

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.980"? Yeah, right. And Monte... .715"? Where did you pull that one from?

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posted 08-01-2008 04:18 AM                       

quote: Mitchell Dvoskin

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How did you run the sound film Enter The Dragon with your own live score? How did you kill the films original score while leaving the dialog?

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Mitchell, they had a DVD that was specially authored for them by the studio which only carried the dialog. Since this film originally was extensively overdubbed throughout, it probably was not too difficult to get just the dialogue track.

We do a lot of these live music accompanied films and the groups make arrangements with the studios so they can perform with film on an on-going basis, like Alloy Orchestra, The BQE Project, The Philip Glass Ensemble, etc. They all have a repertoire of titles that they travel with and rotate. In one case, The BQE Project got rights to THE BLUE ANGEL and as you would guess, there was no dialogue-only track to be had, so the group had to use the existing track that was on the print.

The conductor, Tom Nazziola, had a fader at the podium so he could mix the filmsound at whatever level he needed, ducking it under when there was no dialog and covering with his live score. He knew the film intimately enough that he would fade out the soundtrack precisely when his ensemble was playing. Luckily for him, most of the dialog in that film (as is the case in a lot of very early sound films) had very little music underneath it. In fact, in many early sound films, music was heard only for the credits. When Dietrich sang, he just played to match the music that was on the track. It was so well done as to be almost undetectable.

Some of the studios are very supportive of this kind of thing while others are, well, how can I put this delicately.....like Disney.

Tomorrow we have another such collaboration. The music of Carl Davis (prolific composer of TV movie scores and a slew of silents including BEN HUR, PHANTOM OF THE OPERA, THIEF OF BAGDAD) will accompany Charlie Chaplin's THE ADVENTURER, THE RINK and THE IMMIGRANT.

In the spirit of full disclosure, this show is NOT film, but standard DVD into stacked Barcos. We just finished aligning them till about two hours ago and I have to tell you, I was getting a very decent image -- full screen height at 1.33:1 and hella BRIGHT. It even showed the neg splice flashes until we shuttered it down -- I almost wanted to leave them just so I could fancy it was film.

Those electronic shutters on the Barcos, btw, are the video equivalent of what would be an adjustable aperture plate in a 35mm projector -- something someone should have invented long ago instead of all this primitive filing the plate, then checking, then filing the plate, then checking, etc. for hours. Really, how come Mr. Simplex or Mr. Century didn't come up with an adjustable aperture plate for the projectors like in 1935 or something? In my book, that certainly would be worthy of one of those Technical Academy Award. Such a thing would have solved Ralph's silent apeture plate problem lick-it-ty split. Celebrate Brooklyn - Charlie Chaplin Under the Stars

posted 08-01-2008 02:40 PM                    

quote: Frank Angel

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Tomorrow we have another such collaboration. The music of Carl Davis (prolific composer of TV movie scores and a slew of silents including BEN HUR, PHANTOM OF THE OPERA, THIEF OF BAGDAD)

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