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Topic: Interstellar locations running in 70MM
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Marcel Birgelen
Film God
Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012
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posted 11-04-2014 06:50 PM
quote: Brad Miller
Do you feel better now Mr.Anonymous "real IATSE operator"?
You might check the e-mail header, it often gives more away than people think.
quote: Leo Enticknap
I suspect, therefore, that the photo is a sarcastic joke.
The way you're putting it, it would make sense I guess.
quote: Rick Raskin
Jeez, most of the audience won't even see the cues or, for that matter, if they do, have any idea of what they are. And for sure they won't care.
They're there so you can tell the sheeple what they are and make you look wise and intelligent in the process ![[Wink]](wink.gif) .
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Jim Cassedy
Phenomenal Film Handler
Posts: 1661
From: San Francisco, CA
Registered: Dec 2006
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posted 11-05-2014 08:08 AM
By all accounts, the 70mm IMAX invitation only press screening at the Metreon
in San Francisco was a DISASTER.
First-hand accounts I got last night from people who were actually there was
that the dialogue was almost unintelligible for the first half of the movie.
As for the 2nd half of the movie- - NOBODY SAW IT! !
About 2hrs into the movie, the sound went totally dead for several minutes
before they finally got around to stopping the film. After a considerable
amount of time, they got it running again, but it was badly out of sync.
So they stopped it again to fix it. When it went back on screen the
sync problem was even worse. This was repeated a couple of times.
After appx 45min of dicking around with the projection equipment
during which the film was started & stopped multiple times, they
finally canceled the screening. But by then most of the people had
walked out anyway.
The movie reviewer in this mornings SF Chronicle wrote:
"Yesterday, I was at a screening of INTERSTELLAR, anticipating a long night
of writing the review in order to get it up online and to our sister Hearst
publications in time for their deadlines.
The movie is 170 minutes long, and around the 135-minute point, right in
the middle of a major sequence, the sound went out. And stayed out.
For the next 45 minutes, people struggled in the control booth to
resuscitate the movie. During one of the two long breaks, I tried to
convince the publicists to run the rest of the movie in silence.
I was on deadline. If I didn’t see the rest of the movie, I couldn’t review it"
. . . and a couple of paragraphs later:
"Anyway, they couldn’t get the sound to work and we were all sent home. "
Link To Complete Story
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 11-05-2014 11:03 AM
quote: Bobby Henderson
It makes me wonder if the theater did a QC screening to make sure everything worked properly. A canceled show, particularly in some sort of VIP screening, is indeed a disaster. However, I would consider it more of a "total" disaster if the film print had been chewed up in the projector.
It makes me wonder if the theater was allowed to do a QC screening to make sure everything worked properly.
We weren't when we did an advance preview 35mm show on Saturday. The print arrived with padlocks on the shipping cases, and my co-workers who played it were given the combination just before showtime. Thankfully the print was a good one (in fact, pretty darn good compared to many 35 'scopes) and everyone was happy. But given Brad's report of the missing timecode from reel 8 of the 5/70 version, you can't take anything for granted, even though any new film print being made now is a bespoke one receiving personal attention from lab professionals (i.e. the days of 1,500 copies made on printers and processors that run faster than most of us rewind film and use almost boiling chemistry are over). Incidentally, we played Dolby digital for that show because we didn't receive any DTS/Datasat CDs, but if there is missing timecode footage in the 35 prints as well, I wonder if our 6D would have coped with it.
The padlock business appears to be the analog equivalent of KDMs that open just before showtime, and I'm sure that it's been inspired by digital cinema. I've got the same issue with a preview screening of Inherent Vice for a festival I'm working this Saturday, too. They won't let us have the print (35mm DTS/Datasat) until Friday, citing security concerns, which, given the other things that have to be done that day, will probably be too late actually to project any of it in advance of the show. If it arrives before that day's screenings begin and there is no padlock BS, I might just be able to fit in playing one reel so that at least I've got a presentable opening volume level; but that'll be it. If there are any other problems with the print that can't be seen in a bench examination, we will probably have to discover them along with the audience, some of whom may be writing about the experience in the following day's papers.
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