|
|
 
|
|
Author
|
Topic: HATEFUL EIGHT 70mm - all discussion
|
|
|
Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
|
posted 12-20-2015 06:29 AM
Not MOST, if not all of the 70mm releases of classic titles that had a 6-track mix, when converted over to DTS had the OPTION of using a 6.0 mix (the original one). For example, 2001: A Space Odyssey...there are actually THREE versions available via DTS...a 5.1, a 6.0 and an 8-channel (SDDS track configuration). To run an 8-channel, you would need an XD10 or XD20. To run a 6.0, you'd need a 6 or 6D special Venue (need 6 decoders, the standard 6 or 6D only had 5 decoders and put sub-bass on Ls/Rs with conventional filtering to send it to the subs instead of the surrounds).
Again, venues that run classic titles have been playing traditional 6-track mixes for years via DTS...it isn't a big deal and it shouldn't be one now.
Mind you, I absolutely agree that there HAS to be a 5.1 (compatible) mix to ensure EVERYONE can play it but there is no reason on classic titles where a 6.0 mix exists to not offer it and on this new title where the likes of 7.1 could be used in DCP...offer it to the 70mm theatres too. Those that can handle it will run it that way and those that can't will run the 5.1 version...it isn't a big deal. I do claim that if you are doing an Ultra-Wide-Screen movie, put the 5 speakers back there.
| IP: Logged
|
|
|
|
|
|
|
|
Tyler Purcell
Expert Film Handler
Posts: 180
From: Van Nuys, CA
Registered: Dec 2015
|
posted 12-20-2015 12:00 PM
So I'm going to make a short report about a screening last night at LACMA of Hateful Eight. I'm very concerned about this problem and figured if I brought it to the attention of you guys, maybe something can be done before release.
This is the 2nd time I've seen the film with focus issues. The first time was clearly a problem with the gate as it never came back after they switched to the 2nd projector. Last nights screening was clearly a problem with the lenses. They got 4 lenses from BLS and all of them had focus issues. According to the lead projectionist, the front element was unscrewed when they got it and they did the best they could at re-assembling.
In this test pattern, you can clearly see the left side of the screen is out of focus. This was a similar problem on both projectors AND I will say, as the lenses heated up, the problem got worse. By the end of the show, half of the screen was out of focus and it was very random. On one projector it was half of the upper portion. On the other projector, it was lower and to the left like in that test pattern.
I tried to confront the projectionist again after the show, but he wasn't very interested in talking, maybe afraid I would write something... which is why I'm leaving his name out. He did answer my questions though and I just gave him my condolences for the issues that were out of his hands. It's a real shame because the projectors themselves worked great, the print looked amazing, but the focus issue was a real bugaboo. If this is the way 'Hateful Eight' will be screened everywhere, it's going to be a huge problem.
I really suggest that people do full run throughs and get the lenses super hot because it's absolutely a temp related issue. It's clear one of the elements is shifting just slightly and that's where the problem is coming from. Here in So Cal it maybe an easy fix, but in other places of the world, it's much more challenging, requiring BLS to test and deliver a different lens. The fact ALL four lenses at the LACMA screening had loose front elements, really gets me peeved because it has to be a shipping issue. I know for fact BLS wouldn't deliver a lens like that.
| IP: Logged
|
|
Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
|
posted 12-20-2015 12:13 PM
quote: Jim Cassedy
Basically, it would be technically possible, but not really practical or
commercially viable at this point in time. But, on a strictly theoretical
level, it could be done.
On the surface it looks like there would be just two main requirements to get DTS time code on 70mm or 35mm film prints to sync with sound formats in a d-cinema server. 1.: you have to feed the time code from a DTS reader into the d-cinema server somehow. 2.: you have to update the server's functions so it knows just what to do with the time code.
Neither of those things should be difficult to do. IIRC, a DTS reader is connected with a RS-232 serial cable. Most any d-cinema server has various kinds of data inputs. If they don't have a serial input it is possible to convert the serial connection to USB.
Once the time code is able to be streamed into the server it should only take some programming similar to what other dual systems, such as DTS, have done in the past to attain sync.
70mm film presenations definitely do have great appeal to them. But twinning them with lossy compressed DTS audio can be seen as a drawback, particularly to those who remember just how good magnetic tracks encoded with Dolby SR noise reduction can sound.
If 70mm was able to be twinned with uncompressed LPCM audio or even immersive formats like Dolby Atmos then 70mm shows would be able to present both top notch image quality and state of the art sound. It's definitely something to consider with some future movie productions mulling the possibility of doing 70mm print releases.
| IP: Logged
|
|
Jim Cassedy
Phenomenal Film Handler
Posts: 1661
From: San Francisco, CA
Registered: Dec 2006
|
posted 12-20-2015 03:00 PM
quote: Bobby Henderson
to get DTS time code on 70mm or 35mm film prints to sync with sound formats in a d-cinema server.
Just to clarify the conversation I was having with the Dolbyguy-
They have mixing facilities there. In many cases, they have the original tracks,
or the mixed version final master sound tracks on their audio system servers
there that they use for mixing, editing and archiving.
They can sync those with other analog devices in the booth, such as a
2"/24 track tape machine and another big multitrack analog tape deck.
(Can't recall if it's 1/4 or 1/2 inch) So it seemed to me that if they
could sync their digital audio system servers with several mechanical
audio playback devices (or vice versa), you could, in theory, sync a
digital ATMOS track with the 35/70's, using a DTS type timecode.
I wasn't discussing trying to get it to sync with a standard DCP server.
(But, if we can put a man on the moon. . . . I suppose it's possible
if you want to take the time & trouble to putz around doing it)
| IP: Logged
|
|
|
|
|
|
Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
|
posted 12-20-2015 08:00 PM
quote: Tyler Purcell
I really suggest that people do full run throughs and get the lenses super hot ...
Projection lenses should not get "super hot" in normal use, period. If they do, the lamphouse and/or gate cooling system is either inadequate or not working properly.
What will happen, and what can't be avoided, is heat cycling causing the casing of the bracket they're mounted in to expand and contract with the lamp is struck and then cooled. For that reason, I will always strike a lamp 10-15 minutes before showtime, and for two reasons: to give myself time to investigate if it refuses to strike, and to allow the heat cycle to take place so that the audience doesn't see a slight focus drift over the first few minutes of the show. But after those first few minutes and the projector is stabilized at its normal operating temperature, the focus should not drift at all. If it does, something is wrong and needs to be fixed.
I'm 99.9% certain that our problem was caused by the locking screw for the astigmatism ring working loose and then the ring itself shifting just slightly (John: our anamorphs were Iscos).
If the problem you saw did not "follow the lens" (i.e. disappear when another lens was tried), then it probably isn't caused by a lens issue. Gate tension and the condition of the gate components would be where I'd start to investigate.
| IP: Logged
|
|
|
|
|
|
|
|
|
|
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
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.
|
Home
Printer-friendly view of this topic