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Author Topic: HATEFUL EIGHT 70mm - all discussion Mike Heenan Phenomenal Film Handler Posts: 1896 From: Scottsdale, AZ, USA Registered: Mar 2000 posted 01-11-2016 09:17 PM                     Ben, I thought weinstein required no trailers before the film? That may have been a breach of contract.  |  IP: Logged Jerry Axelsson Expert Film Handler Posts: 107 From: Stockholm, Sweden Registered: May 2005 posted 01-12-2016 12:28 AM                     Which Ultra Panavision lens & base lens would be the best available for this matter and standard 70mm 5 perf projection in your opinion? One cinema showing Hateful 8 are using "H88 Hyperion Anamorphic lenses" which are on loan from Weinsten and ISCO ULTRA MC base lenses.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 01-12-2016 01:45 AM                       There is not a lot of choice in the typical focal lengths for 70mm. Usually from 100 and up and they need to be capable of passing the 70mm image without vignetting. This leaves you with Isco and Schneider as the best choices I know of. The Hyperion is a very good lens and can be used in "forward" or reverse mode as required by your circumstances. You can only go so far up in focal length before the only choice is the reverse direction on the anamorphic.  |  IP: Logged Sigurd Wik Film Handler Posts: 37 From: Bergen, Hordaland, Norway Registered: Feb 2011 posted 01-12-2016 05:42 PM                     Hi, I'm trying to arrange second run screenings of The Hateful Eight in Bergen, Norway some time this spring, given we are allowed by the distributor. We are running two Philips DP70s, and have arranged several 70mm weekends over the years. Last year's Bondarchuk's War and Peace, in an original Norwegian release print, was an absolute joy. Perfect Sovcolor colors almost 50 years after it's release! We haven't screened Ultra Panavision 70, so we lack the lenses needed. Is there anyone who is interesting in renting us one of Panavision's anamorfic attachments for a week? Changeover, so two is necessary. I'm also interested in base lenses in the 100mm range, as our 93mm Ultra Star HD is too wide. Will of course cover all costs in connection with shipping. Sigurd  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 01-12-2016 08:48 PM                     Check with theaters running series 1 digital systems. They may have spare anamorphics which are 1.25x and will work nicely (assuming you can rig a mount) for Hateful Eight. If you only need them for a week, perhaps they could setup so they only play a flat movie in those 2 auditoriums that one week for you. It would be a lot cheaper than shipping back and forth from the US.  |  IP: Logged Norman Shetler Film Handler Posts: 3 From: Vienna, Vienna, Austria Registered: Aug 2015 posted 01-13-2016 02:19 AM                     Speaking from experience, it is currently very difficult to find these first generation anamorphic attachments, as there weren't many to begin with and I believe all european engagements are using them. (Panavision anamorphs are probably even harder to find, hardly worth the effort) I recommend contacting all the installation companies as well as multiplexes, they are most likely to have them lying around somewhere (that's how I got lucky). Make sure to get pictures and guarantee that it is actually a 1.25 and not 1.33 Another possibility would be to contact Boston Light and Sound, as they will probably have a lot of used Schneider lenses in a couple weeks that they might be willing to rent out.  |  IP: Logged Ron Yost Master Film Handler Posts: 344 From: Paso Robles, CA Registered: Aug 2003 posted 01-13-2016 01:18 PM                     Isn’t the equipment owned by the Weinstein Company? Does anyone know what they plan to do with it now that the big event is essentially over? Is it being removed from theaters now?  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 01-13-2016 02:11 PM                     Everything associated with the project is owned by Weinstein. Lenses, projectors, even ancillary items like splicers are Weinstein property. I believe the entire package is up for sale. The news reports from December note Warner is interested in doing a 70mm Batman vs. Superman release, so that is probably the studio that could end up purchasing it...but nobody will know for sure until some sort of arrangement is finalized. Hopefully most of the gear can stay where it is (meaning, installed). That would help cut uninstall costs for Weinstein and reinstall costs for Warners or whomever buys it. Even if the desire was to put the 70mm setup on a bigger screen (a sarcastic thanks to Star Wars for most going in smaller auditoriums), BLSI could move the system into a bigger room in the same complex far cheaper than shipping it to another site (with a storage or shipping hub stop most likely in between them). Leaving them installed really saves everyone hassle and money. I read a news article somewhere along the lines regarding a speculation of the possibility that BLSI will become the future gatekeeper of the 70mm projection systems. That would also be a smart idea to keep them in charge of the equipment in the grand master scheme, as they already have all of the specific info on each building, each system and it wouldn't make any sense for some other company to come in at this point and pick up the responsibility of maintenance, auditorium moves, new lensing, warehousing the spare parts and so forth. Remember unless these new movies were shot with an aspect ratio of 2.76 to 1, this means every lens will have to be changed, an overall realignment and new aperture plate must also be cut for each machine. BLSI is the obvious choice for that.  |  IP: Logged Sigurd Wik Film Handler Posts: 37 From: Bergen, Hordaland, Norway Registered: Feb 2011 posted 01-13-2016 04:16 PM                     Thanks for nice info, will look around. Could there be that D-cinema 1,25 anamorfic attachments doesn't match the resolution of Hateful Eight? As every lens has a resolution limit, I mean. I know it's hardly not the time to be picky about this, but I'm just curious. Sigurd  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 01-13-2016 05:48 PM                     Nope, they are plenty high enough resolution for the task.  |  IP: Logged Sigurd Wik Film Handler Posts: 37 From: Bergen, Hordaland, Norway Registered: Feb 2011 posted 01-13-2016 05:56 PM                     Thanks!  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 01-13-2016 06:00 PM                     I looked on IMDB about the SW: Rouge film for this Christmas release and it looks like their going to shoot it in 65mm and release it in UP70 for the 2.76:1 presentation, once again in limited venues. See what happens. -Monte  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 01-13-2016 06:12 PM                     I find it interesting about the 70mm Batman vs Superman in that it is a 3D release. 2D 70mm and digital 3D?  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 01-14-2016 12:19 AM                     quote: Brad Miller The news reports from December note Warner is interested in doing a 70mm Batman vs. Superman release I guess since they seem to have shot parts of it on every format ever invented (except Super 8, Betamax and VHS), it can be showcased on 70mm. According to IMDB, parts were shot in digital (on Arri Alexa and GoPro), 16mm film, 35mm film, 5-perf 65mm and IMAX 15 perf horizontal 65mm.  |  IP: Logged Jesse Skeen Phenomenal Film Handler Posts: 1517 From: Sacramento, CA Registered: Aug 2000 posted 01-15-2016 04:17 AM                     Any reason why Hateful Eight, having an intermission, wasn't run as two separate films? Seems a waste to just have film running for the length of the intermission, though I suppose that saves anyone from having to go upstairs more often.  |  IP: Logged

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