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Author Topic: HATEFUL EIGHT 70mm - all discussion Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 02-09-2016 08:50 PM                     Thanks Ron, that is how I remembered it (I just didn't trust my memory on the V8 since I don't have a lot of time on that machine). I've no idea how a V8 could run the current polyester 70mm then without laying some level of scratches on the print. The videos I posted on the previous page should be more than ample proof. I would assume in Canada there is a certain amount of the film behaving differently due to the climate, but I have noticed with Interstellar and Hateful Eight that these 70mm polyester prints of late simply aren't the same as 70mm polyester prints of before (such as Titanic, Vertigo, etc). In fact when I was setting up Interstellar last year Paramount loaned me their only surviving reel of Titanic to use and it behaved as I remembered, but the Interstellar was stiff and curled pretty bad.  |  IP: Logged Adam Martin I'm not even gonna point out the irony. Posts: 3686 From: Dallas, TX Registered: Nov 2000 posted 02-09-2016 08:56 PM                     Pages 47 and 51 of the Vic 8 operation manual show the 35mm optical, 35mm magnetic and 70mm magnetic threading paths. The magnetic threading paths do not have the optical head and damper in the film path to smooth out the flapping of the film from the intermittent movement.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 02-10-2016 08:22 AM                        Brad--what is the issue with the timecode on reel 8? I can confirm as of last night that the print at Somerville tracks perfectly fine (steady LED) throughout the entire reel. This is with new-ish DTS readers purchased in 2012-ish (they say "DTS," not "Datasat," and are supposedly among the last of the regular production units before the H8 units were made). The player is an XD20, if that matters. The theatre has had zero sound issues throughout the run (which ends tomorrow night).  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 02-10-2016 10:26 AM                     None of our locations had any sound issues either, but several of us noticed the timecode blinked in during reel 8. It didn't bother me at all since it only needs a blip of timecode every 8 seconds to keep rolling, but it was noticed. All of ours to my knowledge were the new readers produced in 2015, but I can't be 100% certain of that. Someone from BLSI would need to verify with their paperwork or serials what went where.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 02-10-2016 01:29 PM                     Not a 100% guarantee, because I wasn't aware of any issues at other places, so I wasn't looking specifically for this. But I studied that print throughout the run, and took a fair amount of notes, including timecode, and other aspects. I did not notice any issues with the timecode on the print I ran. I was very nervous about being "the one" who screwed up one of those shows, so I definitely nursed that print more than usual, I think. (I am an advocate of having a healthy sense of paranoia as a projectionist.) I wonder if there were multiple internegatives for those prints..? That's something that could explain some of the prints having the issue.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-10-2016 01:37 PM                     the violent shacking of the loop coming off the intermittent sprocket suggest a sprocket issue i have never seen a loop behave like that on a v8  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 02-10-2016 04:25 PM                     Gordon, that's a good point. I had not even thought of that possibility since I didn't hear the typical sound of hooked sprocket teeth, but then again in fairness I've not audibly memorized the "sound of a V8" either. (I can hear that from 50 feet away on a Century.) Still though, there was no indication of the film getting that tiny "yank" as it unrolled off of the sprocket in the slow motion video either...and the loop ran perfectly steady with the addition of the extra idler roller. That makes me want to go take a real close look at the sprocket teeth on that machine though.  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 02-11-2016 11:53 AM                     Brad: Thanks for the info on the tension failsafes..I think I may have one of the crappy ones (Platter roller on a spring loaded microswitch) in my parts pile with my late gen AW3. Jim: Thanks for the info on the VFD drive..looks like a pretty good deal..I paid over $300 for the A-B drive on my test stand many years ago. I still have that drive and motor...may adapt them to my P35GP.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 02-12-2016 09:19 AM                     The 70mm road-show version credits mention a Digital Intermediate. Does that mean the whole movie went through a DI process? I take it for granted that this flic used a lot vfx for it's splatter-shots and other things. But that would not necessarily mean it had to undergo a complete DI. Does this refer only to the DCP version, which, I assume, has been scanned from the film master? - Carsten  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 02-12-2016 11:49 AM                        I seem to remember that as part of the promotion of this movie, it was claimed that all post-production was done photochemically, including editing using workprints on a Moviola. Therefore, if that's true, then the only digital processes done would be to scan the cut camera negative, apply fades, dissolves and other "opticals" digitally and from there create the DI master from which the digital release media were made - DCP, BD, compressed-to-hell version for airplane seat-back entertainment systems, etc. etc. As a sidenote, I wonder if the audio recording and post was an analog workflow, too, e.g. location recording on a crystal-synced Nagra, editing and mixing using multiple 35 mag elements and that sort of stuff, or if they wussed out on that.  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 02-12-2016 12:31 PM                        The film was finished photochemically, you can tell right away because anything that goes through the DI process and printed back to film, generally has flicking silver syndrome in the blacks OR softness blurring caused by the de-graining filters. They didn't use a complete analog workflow however. The film was cut digitally, the audio was recorded digitally (including the score) and the credits head/tail were created digitally as well. So those shots went through a DI process to add credits, which is pretty typical. Yea, it would have been cool to have a complete analog workflow, but honestly we don't have the infrastructure to make it happen anymore. Photochemically printing is already hard enough, I can't imagine what would happen if he wanted analog audio, I think he would have been fired and sent to the loony bin! LOL  |  IP: Logged Mitchell Dvoskin Phenomenal Film Handler Posts: 1869 From: West Milford, NJ, USA Registered: Jan 2001 posted 02-12-2016 12:47 PM                     What happened to Bruce Dern in the 70mm souvenir programs? The centerfold of the program randomly features one of the eight actors except, as far as I have been able to find out, Bruce Dern.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 02-12-2016 01:28 PM                     Regarding the Digital Intermediate, I finally found this statement by Tarantino himself at: http://postperspective.com/list-interview-quentin-tarantino-hateful-eight/ --- I assume the DI had nothing to do with the film print? Right. We only did a DI for the DCP, so there would be like a film element that the DCP had to deal with as opposed to taking it straight off the negative. I usually do a DI but this was the first time I didn’t do one for the film print. I went the Chris Nolan way. --- - Carsten  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 02-12-2016 01:55 PM                        Makes sense, though analog recording of the music using authentic 1960s mics and tube preamps could have added some atmosphere. Though it would probably have been lost in the transfer to DTS/Datasat.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 02-12-2016 02:00 PM                     I wish they could use the DTS/Datasat time code to sync other higher quality audio formats on a d-cinema server. Just moving up to uncompressed 24-bit LPCM 5.1 would be a worthwhile improvement.  |  IP: Logged

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