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Topic: HATEFUL EIGHT 70mm - all discussion
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Mark Ogden
Jedi Master Film Handler
Posts: 943
From: Little Falls, N.J.
Registered: Jun 99
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posted 01-06-2016 06:51 PM
Is there a reason that this film would NOT play on a Kinoton 35/70 machine? I noticed today that the ArcLight Hollywood is running their print from what I take to be a BLS machine, a Century JJ with a Christie console. I know for a fact there are several 70mm capable Kinotons in this complex, I've seen them in person, and almost a years ago today I watched Inherent Vice from one of them. The image from this machine wasn't the last word in steadiness either, there was was noticeable jitter, mostly on the Overture card and the chapter titles. The print itself was in pretty good shape, but there was some roller scratches throughout, mostly only noticeable on the bright exteriors.
PERFECT masking, dead nuts on. Tarantino was pissed that he didn't get the Dome, but Auditorium #3 is more than large enough.
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Jim Cassedy
Phenomenal Film Handler
Posts: 1661
From: San Francisco, CA
Registered: Dec 2006
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posted 01-06-2016 07:23 PM
Yes, that's one of the BLS projectors in your photo.
quote: Mark Ogden
Is there a reason that this film would NOT play on a Kinoton 35/70 machine?
Hateful 8 Requires a custom sized aperture plate.
I run a couple of Kinoton 35/70's in one of the screening rooms I work
at. They use a 'multiple' aperture plate with three different sized holes
cut in it and you slide the 'hole' with the right aspect ratio vertically into
place depending on what you are running.
I have heard that:
1: These Kinoton aperture plates are extremely hard to find now, but I
can't personally say I've tried to procure one.
2: Again, I've never needed to file a Kinoton plate, but in examining
the the way the plate & film trap are designed, it doesn't look lke
there's any "easy" way to pull the plate in and out to file it without
stopping the projector, taking out the entire film trap, removing the
sliding plate assembly (which I think requires a small screwdriver,
but I could be wrong) filing the plate a bit- - then putting the whole
thing back together, and seeing how it looks on screen and then
repeating that process as many times as necessary to get it right.
There doesn't appear to be any 'easy" way to get the plate in & out
to work on it without stopping and using tools to partly disassemble
the spring clip-thingy that holds it in place.
In short- - it looks like it would be a very time consuming PITA
Perhaps someone who's actually done this can correct me if I'm wrong,
but it doesn't look like something I'd want to try.
I believe Sam Chavez most likely filed the original plates on the machines
I'm talking about, so I'm sure he'll correct my assumptions if I'm wrong.
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Jim Cassedy
Phenomenal Film Handler
Posts: 1661
From: San Francisco, CA
Registered: Dec 2006
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posted 01-06-2016 09:59 PM
quote: Bill Brandenstein
Please explain how it would differ from a normal 2.20:1 plate, thanks.
Yes, I could have phrased that better in my original post.
What I was trying to say is that any 70mm house would already have
the "standard" aperture plates on hand- - but HF-8 requires filing
a special one- - and on the Kinotons, this is a bit more involved
than on some other projectors.
Also, by BLS providing the projectors, they sort of 'know what they are
dealing with". Sure, there are probably a number of theaters that still
have 70mm machines in place- - but when was the last time they were
used, and what shape are they in?
I recently had to do some 35mm film screenings (change-over, of course)
at a location where the projectors hadn't been used in almost a year.
I went in a day early and checked things out and found, among other things
that a lot of dust had built up on the xenon bulbs and reflectors, the
intermittent oil levels needed replenishing, and one of the drive belts broke
while running one of the test reels, and one of the take-up belts had
developed a flat spot so the TU reel turned unevenly.
If I had just gone in and run that show 'blind' without checking stuff,
I might have had to cancel the screening.
So, I think the at least part of the reasoning of BLS supplying the
equipment is that this way they were able to exercise a form of
'quality control' over the equipment rather than relying on a 70mm
projector & lamphouse that might not havebeen used in some time,
and had some 'issues'.
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