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

» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » 70mm Fantastic Beasts (Page 3)

This topic comprises 4 pages: 1  2  3  4

Author Topic: 70mm Fantastic Beasts Geoff Jones Jedi Master Film Handler Posts: 579 From: Broomfield, CO, USA Registered: Feb 2006 posted 11-21-2016 11:36 PM                        I ended up seeing this at 12:30 today at the Grand Lake in Oakland. The picture was fantastic - as lock-solid-steady as digital but without the swimmy compression. There weren't any scratches or dirt, nor any stair-step jaggies. We sat on the front row, which is well back from the screen. Before the show, we listened to Holst's The Planets while looking at an ornate curtain. No ads or commercials. All-in-all, it was a great show. Afterwards, a very nice woman gave me and my nine-year-old a quick look at the booth. It was bitter-sweet to see the 70MM print sitting there on the platter. Will I ever see another one?  |  IP: Logged Thomas Hauerslev Master Film Handler Posts: 451 From: Copenhagen, Denmark Registered: Aug 2000 posted 11-23-2016 11:35 PM                        "The picture was fantastic" - of course it was, it's 7OMM! Never underestimate the power of 7OMM Come to Europe, to Karlsruhe (Germany) and Krnov (Czech Republic) to see more 7OMM. Follow the schedules on in70mm.com  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-24-2016 07:10 PM                     quote: "The picture was fantastic" - of course it was, it's 7OMM! Now, now Thomas, even though I'm obviously a major fan of 70mm, let's not go getting too carried away with blanket statements like that. Perhaps you should take in a screening of some of the nicely worn 70mm repertory prints in circulation over here. (A scratched print is in no way "fantastic".)  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 11-25-2016 02:17 AM                        Did everyone else think FotoKem did a great job making the prints? They were same quality as Batman V Superman. They've got a great team over there testing stuff to insure they're accurate, it's not easy. It's unfortunate someone screwed the pooch on Star Wars 7, here is hoping they don't on the new installment. Rumors are that they'll be striking a few 15/70 prints... wonder if they'll make any 5/70 whilst they're at it? Wishful thinking!  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 11-25-2016 02:18 AM                        Saw the 10:10pm show last night at the Regal/UA/IMAX in Sheaphead Bay Brooklyn, NY. We walk into the IMAX theatre with absolutly NO lights. Had to find our seats with cell phone lights. I am thinking, does this means their program isn't running? But their imbecilic preshow nonsense (ads mostly, a bunch we already seen a million times of TV) starts to played with no house lights or isle lights. I am worried, but the preshow plays without a hitch other than it being too loud, but I like loud so I am ok with that. The BS preshow ends and everything goes black -- I mean REALLY black because no lights. Now starts the trailers, but because it was so dark I see the filters move across the lenses OK, that's for the 3D trailers. Now the trailers are playing but, I knew something was definitely wrong when the Disney BEAUTY AND THE BEAST trailer played in 2D even though I saw the filters move into place. I certainly knew that no way would Disney play that trailer in 2D when it is a 3D release and playing in front of their 3D feature. Trailers are done, now the Regal header played but audio without image. I am getting very nervous. I am thinking a major problem is about to unfold. Sure enough, the picture opens up in 2D. Will anything be done...of course not...who's be there to do anything? So I pick myself up and go find someone -- there are two guys with Regal vests and so I say "Guys, the IMAX movie is playing in 2D" There is a discussion between Regal Vest-wearer 1 and Regal Vest-wearer 2. "Is the 10:10 show supposed to be in 3D one asks the other?" I answer quickly as they are both now thumbing thru papers on a clipboard, "Yes, no question, it's supposed to be 3D; see...I have the glasses in my hand here." Ok, now everyone agrees the 10:10 show is supposed to be in 3D, but I get, "Well, what makes you think it's not 3D? Did you have your glasses on?" I think to myself, "...effin millennial idiot" but instead calmly say, "Come see for yourself." Bad move. He follows me in, stands at the side of the screen, puts his glasses on and just stands there staring and says, "I think it is in 3D." I say, LOOK HARDER. Take the glasses off...there are no double images." "Believe me, it's not in 3D, surely you can see that, right?" Finally he seemed semi-convinced and ran out hurriedly, leaving me standing there thinking, "Great, so now what's HE going to do?!" Back to my seat and after 10 more minutes the movie stops, screen goes black. We are then treated to a series of full screen R G B colors, then black for a few minutes. I am thinking, well at least someone is on it. But instead of the movie starting again, more of the same color frames, and I can see the filters moving back and forth in front of the lenses. What I though was going to be a totally wasted night with nothing but a comp ticket and a refund to show for the trip out there, finally the movie starts up again and this time right from the Regal/IMAX 3D Feature Presentation snipe (can they be called snipes anymore?) which I must say is quite impressive both visually in 3D and with great sound. And happily, they started the show right from the beginning, not from where they shut it down. Interesting thing is, as it play thru the first part that everyone had already see in 2D, you could hear the audience ooh-ing and aah-ing at the comparison they saw between the 2D images and same in 3D. So digital has it hiccups too, although in this instance, when the movie finally played, it was flawless. Although I must say, the dark scenes were nearly at that threshold where you would almost say they were underlit. I can't imagine that this would look like in booths that use only a single projector. Can anyone say RealDark 3D?  |  IP: Logged Thomas Hauerslev Master Film Handler Posts: 451 From: Copenhagen, Denmark Registered: Aug 2000 posted 11-25-2016 04:09 AM                        "Perhaps you should take in a screening of some of the nicely worn 70mm repertory prints in circulation over here. (A scratched print is in no way "fantastic".)" Having been fortunate to be involved with 70mm festivals for the better part of 15-20 years, I have seen EVERYTHING there ever was photographed in 65mm (short of three titles). They are mostly original, vintage, faded, splized, and sometimes dubbed prints, I must say, that the audience have always been enthusiastic - regardless of scratches etc. They aren't really important. I think it's the emotional impact seeing the old films again in their original form, which does the trick - at least for me. I like to show the new prints, if available of course. But seeing an original "Mutiny on the Bounty" UP70 print is extraordinary. Scratches or not.  |  IP: Logged Sean McKinnon Phenomenal Film Handler Posts: 1712 From: Peabody Massachusetts Registered: Sep 2000 posted 11-25-2016 06:55 AM                        I am happy to hear the prints looked so good on screen. I was concerned because on the bench it looked really dark to me. Unfortunately, I was not able to see any of the prints on screen so I was curious how they turned out.  |  IP: Logged Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 11-27-2016 09:27 AM                     Did they "letterbox" the 2.39 on 70mm or has it been cropped to 2.2:1?  |  IP: Logged Bill Brandenstein Master Film Handler Posts: 413 From: Santa Clarita, CA Registered: Jul 2013 posted 11-27-2016 11:32 AM                     It's not looking like I'll be able make time to see this. Curious if anyone has seen it in LA since Tyler's reports of JJ troubles in Sherman Oaks?  |  IP: Logged Marco Giustini Film God Posts: 2713 From: Reading, UK Registered: Nov 2007 posted 11-27-2016 12:59 PM                     quote: Frank Angel So digital has it hiccups too No, neither has 35mm. What you describe is due to incompetency, nothing wrong with the system.  |  IP: Logged Marin Zorica Jedi Master Film Handler Posts: 671 From: Biograd na Moru, Croatia Registered: May 2003 posted 11-27-2016 01:54 PM                     What would be done with 70mm prints made for this mowie for few months? After it ends showing, either in 70mm, 2d or 3d.....is there any chance for other cinemas to rent print? I mean in USA because shipping outside would follow some more issue like costs or so. So basicly, if there is (and there is) 70mm capable cinema, can they rent print if available in few weeks or so, like booking regular dcp for 2d show? I went to every 70mm screening in Wien Gartebaukino in last year and half.....so some chance to see this among with upcomming Dunkirk next year would be great!  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 11-27-2016 05:52 PM                     quote: Marco Giustini What you describe is due to incompetency, nothing wrong with the system. Nothing wrong with the system, if you overlook some big things. The implementation of 'scope in d-cinema is a suck-tastic travesty. It's no different than watching something letter-boxed on the TV at home. Add to that all the common width screens built by theater chains that reinforce this low quality stupidity. This might seem like a minor issue to some, but I think it's a pretty major problem considering most movies are framed in 'scope format. I even have a theory the use of 'scope is a money saving measure since the d-cinema version of it requires fewer pixels to render than the 1.85:1 flat format. Despite massive gains made over the past 10 years in computational power, I/O bandwidth and storage capacity the movie industry still outputs the majority of its product in 2K. The tyranny of 2K has made the new UltraHD Blu-ray format and all those UHD 4K TV sets now on sale basically about as useful as tits on a bull. Consumers have to go well out of their way to find native 4K content. That's assuming they even know about concepts like native resolution. For all most of these people know the 4K TV sets makes everything played on them 4K. Other problems: cinema camera companies like Arri and Red are making higher resolution systems, like the 6.5K Arri Alexa 65 or Red Weapon 8K. But those resolution gains are largely meaningless without d-cinema projection systems to match those resolution levels. The movie could be output to 70mm to preserve that resolution, but only if the post production path maintained the 6.5K or 8K resolution throughout the pipeline. This obviously is not happening. More often the material is down-rezzed to 2K at some point. Once the material is quality reduced to 2K any attempts to up-rez are pointless. The best d-cinema projectors arguably are the RGB laser based systems. But those are so unbelievably expensive they'll only be used in very high profile theaters, like Dolby Cinema or IMAX with Laser premium theaters.  |  IP: Logged Marco Giustini Film God Posts: 2713 From: Reading, UK Registered: Nov 2007 posted 11-27-2016 06:16 PM                     Bobby We can talk about that but Frank experienced a 3D movie being shown in 2D. What does the scope resolution and other amenities have to do with some unskilled personnel trying to run a very expensive show in a premium theatre?  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 11-27-2016 07:55 PM                     Booth incompetence isn't the only thing wrong with d-cinema. Booth mistakes do screw up both film-based and digital-based presentations. You said there is nothing wrong with the system itself. I insist there is plenty wrong with the design of current d-cinema standards and pointed out examples of this. Even when the projection systems are operated correctly the end result is still not really as good as it should be, especially with the pretense of digital being better than film. In the case of 'scope, d-cinema sucks compared to how it was implemented on 4/35mm.  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 11-27-2016 10:03 PM                        I agree with Bobby... So we just finished a feature shot entirely in 4k so 1.85:1 aspect ratio, designed specifically for theatrical release. We have a deal with Sony to release the film, even a small theatrical run. Their deliverable list states clear as day 1920x1080 is acceptable as a final delivery master. This is Sony... the company who started all of this digital warfare, the company who single handedly destroyed the home video market thanks to the excessive cost of BluRay and non-adoption as a consequence. This is the company who pioneered 4k delivery, yet as a distributor, they could care less. Here is the problem with 4k finishing... there is no problem. The finishers still go back to the camera originals to make the output. The compositing guys still do all of the effects work in 4k, sometimes even higher resolutions. The software that does finishing is all 4k compatible. In fact, on big shows, I'd bet the final colored output is 4k. The problem lies with studio ownership and theatrical technical services. Once the film leaves the finishing house, it's all down to the distributor to make these critical decisions on how they'll deliver. I bet there is some hiccup in that area of the process which is causing these issues, hence the 1080p distribution requirement from Sony. So yea, it's not the theaters, it's not the people making the product either. It's the distributors who have the problems and they are the one's that need to solve them.  |  IP: Logged

All times are Central (GMT -6:00)

This topic comprises 4 pages: 1  2  3  4

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.