my profile | my password | search | faq & rules | forum home

» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » There's a Brand New 70mm Print of "2001" BUT . . . (Page 5)

This topic comprises 7 pages: 1  2  3  4  5  6  7

Author Topic: There's a Brand New 70mm Print of "2001" BUT . . . Simon Wyss Film Handler Posts: 80 From: Basel, BS, Switzerland Registered: Apr 2011 posted 10-27-2016 03:50 AM                     There’s one thing we have omitted until now, the interplay between film pitch and sprocket diameter. With polyester film the hole pitch should be .1870" ± four tenths or 4,75 mm ± a hundredth. As I see the situation most combined 70-35 sprocket drums are made for triacetate stock which includes a reduction of the contact diameter by one to two per mill. Polyester-base film hardly shrinks, so sprockets ought to be employed that have the full diameter of 1.190" or 30,234 mm. Polyester-base films are somewhat thinner than AC films. Due to that the loops behave differently at slipping off the teeth. They should be set smaller, too. I wonder what a caliper or micrometer reading might reveal.  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 12-11-2016 04:18 PM                        Well, saw the new print of 2001 last night at the Egyptian. Got to hang out in the booth and talk with Mike, someone I already know. What a great print and awesome presentation. It was just flat-out perfect in every way. Unfortunately, the IP used to make the new print from, isn't in the best of shape. It makes me wonder what elements they used to make it, because it had the digital audio timecode, so it MUST be something newer. For any cinephile, it's well worth the visit and of course, seeing good 70mm is hard these days.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 12-11-2016 05:34 PM                     DTS timecode is a anamorphic stretched 25mm negative printed on a second printer pass normally  |  IP: Logged Jim Cassedy Phenomenal Film Handler Posts: 1661 From: San Francisco, CA Registered: Dec 2006 posted 12-11-2016 06:50 PM                     quote: Sam D. Chavez on one of JJ equipped H8 locations, I had no time for this but still needed to back off the tension, so I drilled and tapped the gate plate so I could use a set screw to hit the trap, making a crude but effective stop. < also > quote: Don't think I have a good picture of the setscrew detail but it was down toward the bottom where it would could catch the edge of the trap. Nothing fancy, just a 10/32 screw with a locknut. You can sort of see Sam's JJ gate/trap mod in these pix:  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 12-13-2016 10:53 PM                        Spoke to Mike this morning: apparently every 2001 show so far has attracted a crowd of 500 plus. This is great news, meaning that the print should pay for itself quicker than budgeted for, and that with any luck, doing this again with other "known crowd draw" DTS 70 titles should be viable. Thanks to Barco school and a gnarly show at our other theater over the weekend (which involved hooking up a rental HDCAM SR player and all the messing around that required) last week, I haven't got to play it to a paying audience yet: my turn on Saturday!  |  IP: Logged Daniel Schulz Master Film Handler Posts: 387 From: Los Angeles, CA USA Registered: Sep 2003 posted 12-14-2016 01:46 AM                        quote: Tyler Purcell Striking a print off an already DTS prepped IN is easy and inexpensive. For films that don't have the DTS IN already, it's a very expensive process to take the analog elements, mix them for DTS and spit out a new soundtrack. This part's actually not that expensive, unless you're wanting to do an all-new mix. Most of these movies have an existing 6-track mix on a full coat mag printmaster, and it's pretty straightforward to create a Datasat soundtrack from that element.  |  IP: Logged Jean-Pierre Gutzeit Film Handler Posts: 43 From: Berlin, Berlin, Germany Registered: Nov 2012 posted 03-15-2017 04:33 PM                        There was a digital remix of the sound elements in 2000, and the new remix of the critical old Grammophon tapes from 1965 (Karajan, Boehm and so on) is well done. Against all other remixes of magnetic masters of classic Todd-AO productions on DTS this version was usable. Otherwise: the picture quality of the intermediate prints is not stunning, but poor, unfortunately. I saw the first 70mm version about 60 times and own an old faded vintage print from 1968. The new version, screened in Europe since February 2001, lacks hardly in conjunction with well balanced color timing, frame steadiness and definition. There is no comparition with the original Raodshow release in 1968, and Warner didn't a good job on all Kubrick releases, I think. No experts in the laboratories? It is very disappointing. Fotokom has no rivals and therfore the quality is bad in all ways.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 03-15-2017 10:42 PM                        I was about to write "It was mostly Karajan, wasn't it - I don't remember Böhm on the soundtrack," but looking on Wikipedia I see that you're right and it was Böhm conducting "Einleitung, oder Sonnenaufgang" from Also sprach Zarathustra. I suppose that the very typical Karajan on the Blue Danube Waltz - strings obliterating everything else, glossy and exaggerated phrasing, slightly slower tempo than usual - just left such a strong impression in my mind that I forgot about the other pieces. I stopped listening to Karajan recordings sort of in my 20s, and had forgotten the unique sound he aimed for, that was a big part of the reason why he became the world's highest selling classical artist. Interesting that the Ligeti pieces were not all the same orchestra and conductor, and that the Khachaturian adagio was not conducted by the composer, given that he was active as a conductor at the time. Agreed about the sound quality - the complete Blue Danube Waltz in reel 4 sounds wonderful - very 1960s and magnetic, even after DTS-ization. As for FotoKem, I don't think the accusation that the quality of their work is typically poor is at all fair - at least not in my experience, and I usually handle one or two of their new (or newish) prints a month (though normally 35mm). The 70 prints of Interstellar, Hateful Eight and the PTA movies I've played recently were all among the sharpest and most detailed I've played. You are right in that they were working from an interneg that, shall we say, had issues, when they made our print of 2001. It's important to remember that our print is just a new print, not the result of a full-scale restoration. As such there are grain and contrast issues in the process shots, and some negative dirt and scratching present, for which we got flamed as being incompetent projectionists who can't be bothered to clean a projector on Facebook when it played the Egyptian. Anyway, it's playing at the Aero next weekend and the weekend after for anyone who'd like to catch it, with the Todd-AO five stage channels plus mono surround audio mix. Looking forward to using the Aero's stage extra channels for the first time in almost a year. More info and booking links here (shameless plug).  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 03-16-2017 12:12 PM                        Foto-Kem was always better than Deluxe and often better than Technicolor in the '90s and 2000s. I have nothing but good things to say about the current state of their lab work in all formats--16mm, 35mm, and 70mm.  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 03-19-2017 01:19 AM                        Hey Leo... just got back from the Aero and the left projector is still got that jitter issue. I was kinda disappointed because I thought you figured out what it was.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 03-19-2017 07:40 AM                     Way back when... The best labs for 70mm for me were Metrocolor followed by Technicolor-London. Deluxe would issue "pre-damaged" prints that often were soft or had image motion built-in. I don't recall Foto-Kem's quality, historically. I can say I was very un-impressed with their work on The Hateful Eight. The image was very jittery (including the opening "static" card for the overture). While I found the focus to be erratic, that may have been due to the source elements. Overall, it was a poor representation of 70mm capabilities.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 03-19-2017 08:24 AM                        The print of H8 that we had at Somerville was rock steady. Maybe you got a bad print?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 03-19-2017 10:11 AM                     Whereas it was multiple reels that were unsteady, and given how prints were made, it would have taken really bad luck or a lack of quality control. I hear that the number of bad prints to good were pretty lopsided in the bad favor. I also hear that the reel-to-reel prints were typically the worst since they came at the end of the runs to allow for the platter prints to be built up.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 03-19-2017 10:45 AM                        Interesting. Ours was also a reel-to-reel print and it seemed fine. Maybe we got lucky.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 03-19-2017 11:41 AM                     I saw it platter run in Toronto and found the opening card and credits a bit soft. The actual photography on the other hand...came across so beautiful that I wanted to eat the screen,print and projector. I was not sure if it was out of focus on the card and credits by a hair or if printed that way.  |  IP: Logged

All times are Central (GMT -6:00)

This topic comprises 7 pages: 1  2  3  4  5  6  7

Printer-friendly view of this topic

Hop To: Select a Forum: Category: Operations -------------------- Digital Cinema Forum Film Handlers' Forum Large Format Forum Ground Level Feature Info, Trailer Attachments & REAL Credit Offsets Category: Community -------------------- Film-Yak Film Handlers' Movie Reviews The Afterlife Bob Maar's Joke-A-Thon Category: Classified -------------------- Equipment and Supplies Wanted/For Sale Help Wanted/Seeking Employment Category: System -------------------- Software Beta Testing Forum

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.