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Author Topic: Who is showing Justice League in 70mm? Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-24-2017 10:29 PM                     I'll have to take a caliper to it, but is your 70mm projector off center on the screens?  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 11-24-2017 11:42 PM                     It is in # 1 position for a two projector changeover setup. To the left of center in the #1 position. How is it on the screens at the Dallas theatres?  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-25-2017 01:04 AM                     Two of the 70mm projectors are 2 feet off dead center of the room/screen to the left of the digital. The third 70mm projector is 4 feet off dead center of the room/screen to the right of the digital. I filed plates and setup lenses specific to the Justice League print for these three auditoriums for proper alignment with the 1.85 masking though. So if indeed the print is printed slightly off center, then adjustments will need to be made for any future 1.85-within-2.40-within-2.20 print if it is centered differently. Hopefully though we will never see another print like this again (or anything 1.85 for that matter).  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 11-25-2017 02:03 AM                     What are you doing about the two full width trailers on the head.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-25-2017 11:47 AM                     We are "letterboxing" the trailers within the 1.85 masking. I feel very strongly that never, never, never should any pre-movie content have a bigger screen size than the feature.  |  IP: Logged Bill Brandenstein Master Film Handler Posts: 413 From: Santa Clarita, CA Registered: Jul 2013 posted 11-25-2017 12:34 PM                     Has anyone given feedback about this stupidity to the distributor? Do they even care?  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 11-25-2017 12:57 PM                     So you are zooming a lens on the 70mm to do this?  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-25-2017 02:55 PM                     Yes we can do a lens switch, but it's smoother to run trailers on digital and do an automated changeover to film at the feature.  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 11-25-2017 03:26 PM                     While I agree with you about trailers not being larger than the feature and have purposely run flat digital trailers with 70mm features, I am not sure what Warner's thinks of cutting off the 70mm trailers they put effort and money to print/attach in 70mm. Would have been better if they letterboxed to mach the feature. Back in the 35 mm blow-up era the was a fair amount of 1:85 70mm. ET comes to mind. At least it was full height. Image being centered was hit and miss and would vary from reel to reel. At least this stays in the same place from reel to reel.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-25-2017 05:00 PM                     It's not my fault the trailers are improperly formatted for the feature, but the fact is we did not "cut them off" as far as the audience and marketing department is concerned, as we made it a point to still exhibit the same trailers to the audience via the digital projector. Let's look at it a different way. We already bent over backwards to "fix" the mis-formatting of the feature for WB on our 3 presentations. How about a show of hands for any other 70mm screen running this that bothered to get new lenses and file new plates to exactly align with the 1.85 masking just for this one mis-printed feature booked for a mere 10 days? Anyone??? Anyone else out there go to that much trouble to truly provide a proper presentation??? For clarity so there is no misunderstanding, I'm not wishing to start an argument here. I am however pointing out that worrying about the projection format of a preview vs. the bigger picture of the presentation of the feature as well as the presentation as a whole is a bit on the ridiculous side. Besides setting up new lensing and aperture plates, we are using ultrasonic splices, wet gate projection, 6000 watt lamps, etc. I am absolutely positive WB won't be able to find a better presentation of Justice League anywhere else.  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 11-25-2017 05:32 PM                     Wet gate projection. I have heard of wet gate on a printer but how does it work on a projector or are you referring to liquid cooled?  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 11-25-2017 07:22 PM                     Wet gate projection is using FilmGuard on every single pass. Just like wet gate printers which have the film submerged in a liquid, when used in this manner the FilmGuard forms a coating on the film which refracts light and hides most blemishes from projecting. Lots of people use it for cleaning, lubricating, stopping shedding and removal of static, but the magic happens when you use it every single show. Anyone who has used it in this manner knows all too well the various benefits of it, meaning not just a perfectly clean print and the ability to hide print defects, but it improves the image all around as well (projected resolution, color saturation, etc). When used in this manner the image literally becomes BETTER every pass than the very first time a new print straight from the lab is projected. For example, today's shows look better than yesterday's shows, and yesterday's shows looked better than the day prior's shows. On opening day most theaters presented their highest quality shows and then it slowly got worse from there (just how fast or slow that happens depends on the specific booth, operator, etc). Our prints on the other hand gets better as each day passes. Over time the coating will evaporate and simply no longer be there, but the print will be in pristine condition. The most common thing I hear from picky projectionists that have tried it is that they truly thought they had a great presentation before, but after seeing the difference realize it wasn't as great as they had thought and then religiously never run without it after that.  |  IP: Logged

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