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Author Topic: HATEFUL EIGHT 70mm - all discussion Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 12-06-2015 10:01 PM                        "The Boys Behind the Booth" (headline of the David Bordwell article linked by Martin) - ironic, given that many if not most of the workforce at the Valencia facility are women!  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 12-06-2015 11:38 PM                     quote: Paul Mayer Brad, do you not have any more platter rings in stock? Nope. Sold the last one about 3 years ago I'm guessing it was. (Maybe it was only 2 years ago, not sure.) Since then I've only had one inquiry about them now that digital has all but taken over. I offered to make a production run of 100-120 for Chapin at cost to help this project, but apparently he felt it wasn't needed. I think Mork put it best.  |  IP: Logged David J Hilsgen Expert Film Handler Posts: 192 From: SAUK RAPIDS,MN . USA Registered: Aug 2004 posted 12-07-2015 12:18 AM                     I agree with brad i'd say about 60 prints are going to get destroyed. everything up north will be the first to go .when i ran interstellar i had 4 humidifiers running, also walled that area of the booth off, used film guard & a anti static vac that i ran the film thru .also i think they are going to have audio drop outs, if there running a single dts system.now what theatre will be the first to have a print go flying ?  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 12-07-2015 12:37 AM                     Given the fact at least some of the people responsible for the release of The Hateful Eight know better, and would have been best advised to bring experts like Brad Miller into the loop, but refused to do so, more and more I'm thinking this "biggest 70mm release in over 20 years" is really going to be a subversive act of sabotage meant to make film look bad and have everything go digital only once and for all. Maybe that sounds paranoid, but given the egos and bias involved, I'm not going to put that conspiracy theory out of my mind. If a lot of these 70mm Hateful Eight prints go flying those screening disasters will not prove once and for all that film is inferior to digital. The only thing it will prove is Hollywood studios are incompetent as fuck at doing anything professional at all anymore when it comes to commercial theatrical screenings. The movie studios are basically doing the same thing that Applebees and Chili's does to your "steak": throw the pre-cooked slab of whatever it is into an industrial microwave and nuke it. That's movie-going for you now. Yeah, digital has made it "better" when measured against a low average of neighborhood multiplex theaters. But the splendor of top tier movie-going showmanship is all but gone. Now you have some high priced "premium" theaters that are honestly only marginally better than a big HDTV set in the home living room when you get down to it. It really pisses me off they can't get something like a 70mm film release done right. It's pretty damned pathetic. The movie industry has done this to itself. They didn't do anything to maintain any film-based infrastructure for production or exhibition. The industry said "fuck you" to its own heritage. They've sold movie theaters extremely expensive digital projection gear that will be prohibitively costly to replace or upgrade in order to "keep up with the Joneses" in terms of new technology filtering into home living rooms. And then they have all the Save The Cat! paint by the numbers scripts. So many movies are barely worth watching once; forget owning a copy of them on Blu-ray. The Hateful Eight in 70mm was an opportunity to show how movies could really be presented. But now with all these odd details showing up the effort just seems like a sad waste of time and money.  |  IP: Logged Tim Androes Film Handler Posts: 34 From: seattle, washington, united states Registered: Aug 2015 posted 12-07-2015 01:43 AM                     couple more things to consider... -big shipping case...how is the print packed inside? pictures? -whole case to the booth or take the print out near the booth stairway/access? -shipper? some trucking company "drops" the case? print arrives damaged..overnite me a replacement? -case locked and we get key how long before showtime? whether you're using tape or glue or sonic weld it is still a splice  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 12-07-2015 09:28 AM                     I think every one is making a big deal out of the shipping pre assembled prints We have been doing it for years with out issues in the large format world and in 25 years I never had a ultrasonic splice fail at cinesphere  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 12-07-2015 09:41 AM                    They should put 5-10 minutes of junk film on the head, after the threading leader and ahead of a dozen feet of solid black which is where you'd either cue the shutter to open or you'd punch in manually to ensure a clean start. As is you'd be doing something like this: You thread up. You recheck everything in the entire path. You crank ahead manually If all looks correct, you bump the motor briefly. Check again, If all's well, run down to where you will start from. Add the junk film and the show is made even more bullet proof. Do all the above and then start 5-10 minutes early. While the junk film is running through you can actually walk around and verify that everything is fine on both the platter and the projector. A loop looks a little too big...stop and fix. Miss a roller...stop and fix. No marring the print. If all is good you just keep running and punch in at the right moment. Even the less experienced have a better chance for totally error-free projection. Adding a little junk film to the tail will be a good idea, too.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 12-07-2015 09:53 AM                        quote: Bobby Henderson Maybe that sounds paranoid, but given the egos and bias involved, I'm not going to put that conspiracy theory out of my mind. I don't think it's likely. Boston Light and Sounds has developed, and cultivated, over many years, a reputation as being the no. 1, premium price / premium quality vendor for festivals, special screenings, events involving non-standard or "difficult" projection requirements, etc. etc. They have repeatedly been named in public in relation to this project, and Chapin has been interviewed in prominent trade papers, sites and blogs. In short, BLSI has a lot to lose if the 5/70 release of this movie is a highly-publicized disaster. Indeed, one of the reasons why they were hired to oversee the technical aspects ot the entire 5/70 distribution and release, even going to the expense of setting up their own temporary print preparation facility independent of FotoKem, is because of what happened with Interstellar. This was that the theaters which took the 5/70 prints were on their own as far as equipping and staffing was concerned: the result was 12 out of the 15 prints damaged to the point of unacceptable presentation within a week. I'm speculating here, but it seems to me very likely that the essential reason why Boston Light and Sound was hired to take care of everything from the prints leaving FotoKem to the last night of the initial release 5/70 presentations was to insure against a repeat of the Interstellar debacle: Tarantino and Weinstein simply weren't willing to risk an approach whereby prints were delivered to the theaters that booked them, and then you sit back and cross your fingers, because Nolan tried that last year and it didn't end well. So if mistakes are being made, I feel sure that they are honest mistakes.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 12-07-2015 09:54 AM                       Only problem is the film is over 3 hours with overture and intermission footage. It's pretty close to the edge as it is.  |  IP: Logged Richard May Phenomenal Film Handler Posts: 1057 From: Floral Park, NY USA Registered: Aug 2004 posted 12-07-2015 10:21 AM                     As good as BL&S are, they can't be everywhere when the film opens in all these different places. How much was all of this equipment tested? How much was it run? I just see too many bad things happening and like Mike said, people just don't want film coming back.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 12-07-2015 10:39 AM                     quote: Leo Enticknap This was that the theaters which took the 5/70 prints were on their own as far as equipping and staffing was concerned: the result was 12 out of the 15 prints damaged to the point of unacceptable presentation within a week. Interstellar certainly had mishaps with its 5/70mm prints and 4/35mm prints as well (a "flagship" AMC location in Dallas ruined its 35mm print during the first show). Pretty embarrassing. Of the three Interstellar 5/70mm prints that came away unscathed, those were probably the three 5/70mm prints that played in Dallas, handled only by Brad Miller and his crew. It might have been prudent for Paramount to take note of what worked and what didn't work after the Interstellar theatrical run and perhaps share those notes with anyone running film presentations. BLSI may have a great reputation and all, but the point by point warnings Brad has made about The Hateful Eight release still stand. It also bears repeating Weinstein & Co. are foolish to force this movie into the market on Dec. 25 when Star Wars: The Force Awakens will still have a stranglehold on virtually all the movie screens with decent 70mm presentation potential. It may be the biggest 70mm release in 23 years, but very few theaters are going to be able to show this movie in the scale it should have been presented. A lot of customers are going to be watching this 70mm show on some pretty modest sized screens. They should have just run a NY & LA exclusive on Dec. 25 for Oscar ballot qualification and then waited until mid January, after Star Wars has died down, to platform it out to other theaters. Roadshows have done exactly that in the past. Why treat this any different? January on into early February is usually a wasteland of crappy movie-going. A huge 70mm film release could get a lot of uncontested publicity during that period.  |  IP: Logged Mark Lensenmayer Phenomenal Film Handler Posts: 1605 From: Upper Arlington, OH Registered: Sep 1999 posted 12-07-2015 11:14 AM                     BL&S posted a pic on Facebook of 70mm running at the Continental 10 in Denver. Looks like a new lens.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 12-07-2015 01:14 PM                        It will be interesting to see how they handle replacement reels. At some point, there will be a lab defect or an operator defect and a reel or two may need to be swapped, either before opening day or days/weeks into the run. Also, not every booth is easily accessible. The shipping box and built-up prints may not fit in some theatres or booths. That will be "interesting" as well. (No doubt, someone has already thought of both of these issues, but it will be interesting to see the solutions.)  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 12-07-2015 02:53 PM                        How the hell are they getting 70mm at the Continental? The old booth was big and spacious but the new booth (up a skinny flight of stairs) is smaller than my bathroom. It can fit a platter of course but damn I can't imagine trying to get an assembled print up those stairs and around any corners, etc. My guess is that they're not even running it on the big screen. Probably auditorium 6 would be my guess. Right by the offices and break room. Also, who the hell is running the show? Regal kids? Oh god... Winters in Denver can be ultra staticy like Steve said. I mean it's more static-prone everywhere but it's much worse in Denver trust me. They will have fun with that print without FilmGuard. Or likely even a Safety Ring. Not having a safety ring is stupid.  |  IP: Logged Phil Ranucci Expert Film Handler Posts: 236 From: Carpinteria,CA, United States Registered: May 2006 posted 12-07-2015 02:55 PM                     We got our lens and test film and a test reel.  |  IP: Logged

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