Film-Tech Forum ARCHIVE: Tarantino to shoot ant release next movie in 70mm in 2015

my profile | my password | search | faq & rules | forum home

»	Film-Tech Forum ARCHIVE » Operations » Film Handlers' Forum » Tarantino to shoot ant release next movie in 70mm in 2015 (Page 4)

This topic comprises 5 pages: 1 2 3 4 5

Author

Topic: Tarantino to shoot ant release next movie in 70mm in 2015

Marcel Birgelen
Film God

Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012

posted 09-26-2014 12:05 PM

quote: Daniel Schulz
I run the sound-for-film division at Datasat - we're in the thick of making the discs, trying to drum up 70mm timecode reader heads, and all the rest.

Besides the oddball director that pushes forward a 70mm release for a major feature, the market for 70mm DTS timecode readers must be somewhat limited nowadays.

Do you guys even have the facilities to build new readers or are you just working with refurbished stuff you get back from the field?

| IP: Logged

Daniel Schulz
Master Film Handler

Posts: 387
From: Los Angeles, CA USA
Registered: Sep 2003

posted 09-26-2014 12:56 PM

quote: Marcel Birgelen
Besides the oddball director that pushes forward a 70mm release for a major feature, the market for 70mm DTS timecode readers must be somewhat limited nowadays.

Do you guys even have the facilities to build new readers or are you just working with refurbished stuff you get back from the field?

The market was completely dormant until two years ago, when P.T. Anderson pushed out The Master in 70mm with Datasat Digital Sound. With Christopher Nolan and Quentin Tarantino now pushing the format, we're getting requests for more readers than we have on hand, so we are assessing the viability of building more. It's not as easy as it sounds - digging up fab drawings from 15 years (and one corporate sale and 3 office moves) ago, sourcing replacements for obsolete parts, etc. But we love 70mm and want to see it supported, so we're working with the studios to help make it happen.

| IP: Logged

Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001

posted 09-26-2014 01:16 PM

The time code readers are just one part of the equation with the 5-perf 70mm format. Some old 70mm capable film projectors will have to be brought back into service since no one is making any new 70mm projectors.

I'm hoping Interstellar will be a huge hit and that the 5-perf 70mm shows will attract a lot of customers. If that happens the combination of it and Quentin Tarantino's 70mm project could encourage other filmmakers to utilize the format and actually bring it back to some degree -and perhaps create enough demand for companies like Datasat and Kinoton to build new parts and products to support 5-perf 70mm exhibition. They'll do it if they can make money with the effort.

Although I prefer movies to be shot on film, I think the new Arri Alexa 65 camera could provide a possible outlet for 5-perf 70mm print production. The camera has a 6.5K native resolution and has an image frame similar to that of a 5-perf 65mm negative. A 70mm film print is currently the only exhibition format that will put all of that 6.5K detail on the screen. D-cinema projectors max out at 4K.

| IP: Logged

Mark Campbell
Expert Film Handler

Posts: 148
From: Seattle, WA USA
Registered: Jul 2007

posted 09-26-2014 01:48 PM

I really hope this small ripple of 70mm origination and/or presentation with the drive from filmmakers like Nolan, Tarantino and Anderson becomes a wave and an artistic push back on boring same-old digital CG crap being shoved at us on souped up imax-ish screens. Nothing CG is more impressive than in-camera spectacle and realism captured on large format film. Anyone who has seen Lawrence of Arabia or Baraka presented properly in 70mm will agree.

I just hope there are enough theaters that will support the format. Not every city has a theater as dedicated to presentation as our Cinerama here in Seattle, but who knows what could happen...

| IP: Logged

Marcel Birgelen
Film God

Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012

posted 09-26-2014 01:54 PM

quote: Daniel Schulz
The market was completely dormant until two years ago, when P.T. Anderson pushed out The Master in 70mm with Datasat Digital Sound. With Christopher Nolan and Quentin Tarantino now pushing the format, we're getting requests for more readers than we have on hand, so we are assessing the viability of building more. It's not as easy as it sounds - digging up fab drawings from 15 years (and one corporate sale and 3 office moves) ago, sourcing replacements for obsolete parts, etc. But we love 70mm and want to see it supported, so we're working with the studios to help make it happen.

Yeah, I can imagine the logistical and engineering problems at hand. I hope those things don't end up being so expensive nobody can afford them [Wink]

.

If this 70mm "revival" keeps up for a while, any chance we might see some uncompressed surround sound based on e.g. DTS-HD Master Audio or maybe just uncompressed PCM teamed up to 70mm?

| IP: Logged

Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001

posted 09-26-2014 03:25 PM

quote: Mark Campbell
I really hope this small ripple of 70mm origination and/or presentation with the drive from filmmakers like Nolan, Tarantino and Anderson becomes a wave and an artistic push back on boring same-old digital CG crap being shoved at us on souped up imax-ish screens. Nothing CG is more impressive than in-camera spectacle and realism captured on large format film. Anyone who has seen Lawrence of Arabia or Baraka presented properly in 70mm will agree.

Film use will come back only so much in production and post production. Almost every feature movie is run through a digital intermediate regardless whether it was shot on film or video. Nolan is one of the very few exceptions who choose the old school color timing route.

Visual effects are almost exclusively all-digital now. Few effects studios have any capability to produce classic optical based visuals. CGI has brought about some huge improvements. It's far more precise, easier/faster in some respects and can be seamlessly composited into a digital intermediate without any differences in color, contrast or sharpness.

The real problem is bad CGI. That comes from other factors like way too short production schedules and budget constraints. Being a CGI artist for movie productions doesn't carry the glamour it once had, not to mention the pay either. Other industries like gaming and defense technology are grabbing more of the best talent.

The film manufacturing industry needs to survive to at least some degree in order to prevent the loss of many digital-based movies by way of film-based archiving. That's only a niche product; it's going to take at least some movies being shot on film and shown on film to make companies like Kodak and FotoKem more viable.

| IP: Logged

Steve Matz
Jedi Master Film Handler

Posts: 672
From: Billings, Montana, USA
Registered: Sep 2003

posted 09-30-2014 08:27 PM

quote: Steve Guttag
There is no such thing as the smallest screen for 70mm. It will always look better. It could be said that there is a largest screen for 35mm since at some point, you can't get enough light through the 35mm aperture or image starts to look bad due to magnification. The smallest screen we have that can/could run 70mm was on the order of 18 feet or so (wide).

I believe this to be true about too large a screen in 35mm. When the Drive-in's here rebuilt their Screens after Cinemascope arrived in 53. This One particular DI(Motor-Vu) must have added 50 ft to this screen.it was certainly larger than the other's in town. The Projection Booth I would estimate was probably 200+ yds from the Screen. This is the DI I mentioned in other posts that traded out it's Brenkert Projectors for Motio AAA's and were using Mighty 90 lamps.

I always thought films at this DI compared to the others seemed dimmer in contrast&resolution,etc. certainly wasn't an exceptional image quality to me. I know the projectionist was qualified but maybe they went overboard in Screen size trying to capitalize on a Scope Audience...

BTW: Does this Theater still have any Film Projection Equipment...

| IP: Logged

Kilian Henin
Film Handler

Posts: 5
From: Calgary, Alberta, Canada
Registered: Jan 2014

posted 10-01-2014 11:30 AM

Here's a list of all of the 35mm, 70mm(!), and 15/70 showings for Interstellar.
https://interstellar.withgoogle.com/ways-to-see

| IP: Logged

Aaron Garman
Phenomenal Film Handler

Posts: 1470
From: Toledo, OH USA
Registered: Mar 2003

posted 10-01-2014 12:03 PM

Bought my tickets for November 4 in Indianapolis! 15/70 for me.

AJG

| IP: Logged

Geoff Jones
Jedi Master Film Handler

Posts: 579
From: Broomfield, CO, USA
Registered: Feb 2006

posted 10-01-2014 12:32 PM

quote: Kilian Henin
Here's a list of all of the 35mm, 70mm(!), and 15/70 showings for Interstellar.
https://interstellar.withgoogle.com/ways-to-see

Deserves its own thread, imo.

| IP: Logged

Mark Ogden
Jedi Master Film Handler

Posts: 943
From: Little Falls, N.J.
Registered: Jun 99

posted 10-01-2014 12:38 PM

A crisp $100 bill to any theater owner who shows this in front of a 35mm print.

| IP: Logged

Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001

posted 10-01-2014 12:45 PM

I hope they're able to add more 5/70mm shows to what currently isn't a very long list.

I'll definitely drive to the Dallas area to see Interstellar in 70mm at either one of the Studio Movie Grill locations. I don't know which location is better though (Dallas or Arlington).

It's kind of fitting for Interstellar to have one of its 70mm shows in New York City booked at the Ziegfeld.

I'm a little surprised there's not more 15/70mm IMAX shows. Did Cinemark pull the 15/70mm hardware at its IMAX theaters? I halfway expected its Tulsa location to get a 15/70mm print. Same goes for the one in Colorado Springs. Neither will be playing Interstellar in real IMAX. I guess if I want to see the movie in IMAX I'd have to see it in Denver, Branson or Austin.

| IP: Logged

Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 10-01-2014 01:28 PM

Geoff, that list isn't completely accurate for the 70MM shows. I started a clean thread on it though here.

| IP: Logged

Connor Wilson
Expert Film Handler

Posts: 190
From: Sterling, VA, USA
Registered: Jan 2011

posted 10-01-2014 02:28 PM

5/70 at Ziggy? Looks like I'm in, but I'm a bit concerned because the last 5/70 Datasat print @ Zig, The Master, the surrounds were not in use.

I hope the folks at Ziggy do a complete and thorough A-chain and B-chain for Interstellar.

quote: Mark Ogden
A crisp $100 bill to any theater owner who shows this in front of a 35mm print.

Although it's super unlikely, I'll be giving $200 to any theater owner who plays THIS* in front of a 5/70mm print.

*Not wholly accurate, but you get the idea.

| IP: Logged

Michael Kurtzke
Film Handler

Posts: 45
From: Ashburn, VA, USA
Registered: Feb 2013

posted 10-01-2014 05:39 PM

quote: Mark Ogden
A crisp $100 bill to any theater owner who shows this in front of a 35mm print.

Don't Worry! We will!!!

| IP: Logged

All times are Central (GMT -6:00)

This topic comprises 5 pages: 1 2 3 4 5

Printer-friendly view of this topic

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.