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Author Topic: Who is showing film in 2014 by choice? Kenneth Wuepper Phenomenal Film Handler Posts: 1026 From: Saginaw, MI, USA Registered: Feb 2002 posted 05-28-2014 11:44 AM                     The Court Street Theatre in Saginaw, Michigan continues to show film. Our print numbers have become very small. Often we get #00001.  |  IP: Logged Jonathan Goeldner Phenomenal Film Handler Posts: 1360 From: Washington, District of Columbia Registered: Jun 2008 posted 05-28-2014 01:21 PM                     Landmark E Street has one screen outfitted to playback in 35mm (and DCinema), as does one screen at the Angelika Mosaic. and excuse my language but the Hirshhorn 'film' presentations look like shit, by just throwing the image onto a white wall - no screen ... unless that's changed. Steve: what digital projector do they have at the National Gallery of Art? can the Smithsonian Art Museum do 35mm?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 05-29-2014 05:45 AM                     The NGA has a Barco DP2000 in the East Building Large Auditorium. It was installed long before they had DCP capability but with an eye towards when they would. They have had DCP capability for years now. The Portrait gallery does indeed have film capability. Both 16mm and 35mm. However, I recall it also being projected on a wall. It has been a while since I've been in there to put an image on the "screen" If it is a screen, I recall it not being masked. The best of museums in DC for film shows is definitely the NGA. They do most everything first-rate. However, even they suffer from design by committee. So sound wise, the triangular shaped EBLA (with hard walls, including glass on one side wall) presents challenges.  |  IP: Logged Jonathan Wood Expert Film Handler Posts: 206 From: Oxfordshire, United kingdom Registered: Jan 2008 posted 05-29-2014 05:58 AM                     Any one in the UK who fancies seeing films they way they were meant to be then please come along! http://www.cvhf.org.uk/programme-2014/old-dark-picture-house/  |  IP: Logged Aaron Garman Phenomenal Film Handler Posts: 1470 From: Toledo, OH USA Registered: Mar 2003 posted 05-29-2014 10:31 AM                     Browning Cinema We still run 35mm changeovers, along with DCP and other flavors of video. Film seems to be dwindling though, but it's always a nice treat when we get a print. We've been very fortunate to get some archival prints of some classics that looks just gorgeous. AJG  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 05-31-2014 03:24 PM                        One of the guys on the DI forum said that his booker told him that at least a few studios (none named) have decided to settle on striking a number of prints for their big releases (no titles named) -- 35 prints for the West coast and 35 prints for the East coast. How accurate these 3rd party rumors are is questionable of course, but if true, then at least the problems associated with high speed printing -- jitter, weave, etc would be eliminated. In actuality, they would be getting EK Show Prints. Not a terrible thing for those venues that still want to run 35mm.  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 05-31-2014 03:49 PM                        We'll see how that really works out. We still show the occasional new 35mm (Grand Budapest Hotel right now). The quality is still iffy. Though it is nice to get a 35mm print 13 weeks into the run that isn't butchered.  |  IP: Logged Jonathan Wood Expert Film Handler Posts: 206 From: Oxfordshire, United kingdom Registered: Jan 2008 posted 05-31-2014 03:55 PM                     If they are only making 70 prints then how much quality control and attention to timing will there be? They still have to burn a new neg from the DI, which will be a big expense for 70 prints which makes me think they might cut corners even further and go for some tele recording type process ! The prints will probably still be struck on high speed release printers.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 05-31-2014 05:25 PM                     Frank, no way will they be sending out 70 EK prints. Think about it.  |  IP: Logged Chad Palmer Film Handler Posts: 3 From: Upstate, SC USA Registered: Apr 2014 posted 05-31-2014 09:28 PM                     Could you post a link to the DI forum thread you mentioned reading this on? Sounds like an interesting discussion  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 05-31-2014 10:35 PM                        A showprint in the traditional sense of the word is a contact print made straight from the cut camera negative, with dissolves, opticals, titles etc. printed in manually, just as would be done when making a fine grain IP. I'm guessing that with DI workflows now, "showprint" means release print stock being burnt directly in the Arrilaser (or whatever), rather than a contact print made from a filmout IP. I'd be very surprised if anyone would contemplate making as many as 70 copies that way: the cost of making a filmout IP would surely be a tiny fraction of the machine time needed to filmout that many prints. Hopefully the contact printers used to make the release prints will be running a bit more slowly and receiving more TLC than in the days when thousands of copies were being printed at speeds faster than most of us would rewind film, though.  |  IP: Logged Jonathan Wood Expert Film Handler Posts: 206 From: Oxfordshire, United kingdom Registered: Jan 2008 posted 06-01-2014 03:05 AM                     I don't think anyone would use an expensive film out laser printer to make prints , would be massively slow and expensive. Here in the uk , Deluxe would usually film out to a new neg from the DI which would then be traditionally contact printed to make IP / IN then bulk release. They also could film out direct to IP, it depended on the producer, the diss advantage of this was grading would be necessary for each ip struck as several would usually be needed- a neg would have all the corrections incorporated. Quality control was massively important in bulk release printing - no way would 70 prints be give that much tlc. Sadly now all academic.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 06-01-2014 11:09 AM                     We still make limited runs for clients of 35mm prints using the Arrilaser printing here in New York at Technicolor.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 06-01-2014 12:05 PM                        Out of curiosity, at what sort of print volume does the tipping point lie, above which it makes more economic sense to filmout an IN and make contact prints from that rather than directly laser all the prints you need? Is it as high as 70?  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 06-01-2014 12:33 PM                     The runs are limited to 1-12 prints depending on the clients needs here. Larger runs are done by Deluxe, but no one is ordering high numbers.  |  IP: Logged

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