Film-Tech Forum ARCHIVE: There's a Brand New 70mm Print of "2001" BUT . . .

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Topic: There's a Brand New 70mm Print of "2001" BUT . . .

Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000

posted 12-08-2017 08:22 PM

Interesting that contact printed 70mm showprints from the camera neg were made. Must have been quite a challenge in the mag stripe days, especially if done in a step printer.

Agreed with Bobby, though if anything I'd say that color depth is more important than resolution. What enables me to spot a DI to 35mm filmout a mile off is that the color depth just doesn't seem to equal the end result of an all-photochemical workflow. The resolution can do, to my eyes, though.

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99

posted 12-08-2017 09:20 PM

quote: Bobby Henderson
I think there is little point to outputting a 2K or 4K DI to 70mm other than giving projectionists more practice handling 70mm film.

That might actually be a worthwhile goal, given that so many people aren't very good with the format. At least, it would give the next 70mm shot-on-65mm-with-photochemical-post movie a better chance of surviving its run.

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Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001

posted 12-09-2017 05:24 PM

It's extremely important for any cinema projectionist to get as much hands-on practice with both 35mm and 70mm as possible. But it's still controversial when practice is in the form of advertised screenings meant to promote things like 70mm film. In order for the 70mm film format to survive it must be shown with the best possible quality source material so audiences can clearly see the difference. Digital cinema maxes out at 4K. There doesn't appear to be any plans at all to make d-cinema projectors that go above that quality level for a long time. That leaves 70mm as the only cinema format that can be clearly better.

It's frustrating that movie studios go with the "good enough" route so often with digital technology. The cutting edge of computing technology is far more powerful than it was 10 years ago. Yet most movie and TV productions are still made in HDTV resolution 2K. They could produce 8K content now faster and with less trouble than it took for the first 2K digital intermediates over 15 years ago. Instead they've used all the performance gains to just make 2K production even faster.

I'm still scratching my head about Murder on the Orient Express. The movie was shot on 5/65mm film and had a limited number of 5/70mm prints. Unfortunately post production was a 4K digital process. I can sort of understand why a DI was used since there was so much "digital backlot" visuals in the movie. But why even bother filming the live action stuff on 65mm film? What was the point of doing that? If a 4K DI was going to be the final product they could have shot the movie on 35mm film or with any number d-cinema cameras. The 70mm prints of that movie end up being a non-event due to the 4K DI bottle neck.

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