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Author Topic: 70mm Prints for Phantom Thread Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-21-2017 09:42 AM                     Super-185 was and I guess IS a valid shooting format. I've set up for dailies on it. Like Super 35, it is a larger negative area. I suppose one could argue the benefit of the larger negative area versus the eventual optical reduction for printing. In the digital world, it is more data to work with and for a 70mm blow up, then again, you are magnifying a bit less. As to why not shoot in 65mm...probably due to space and lighting and nimbleness of 35mm versus 65mm (including preferring the depth of field of 35mm format lenses versus 65mm.  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 12-21-2017 12:06 PM                        Well, I'm glad it's not done digitally. I'm really tired of every single 70mm release being digital because it really ruins the image in my opinion. In terms of 70mm wearing differently than 35mm, well it just does. All things being equal, dust and scratches are generally a lot smaller on 70mm than 35mm prints. In terms of super 35mm... well it's just the original 35mm format prior to the soundtrack being added. It's just, the format natively is 1.33:1 aspect ratio, of which nobody shoots in anymore. 3 perf 35mm reduces the amount of film running through the camera by 25% (huge cost savings) AND gives you a native aspect ratio of 1.75:1 which is very easy to crop down to 1.85:1 without losing much image. The vast majority of non-anamorphic features have been shot with 3 perf or 2 perf cameras since the mid 2000's when the format really took off. The only downside is the finishing process, of which 3 perf to 4 perf opticals for release prints, is a very image-degrading process. This is why DI was so popular and why release prints from that era looked so crisp. There was recently a photochemically finished 2 perf movie with an anamorphic optical blow up and honestly, it didn't look good at all. The digital intermediate process on 3 perf and 2 perf in my opinion, is a requirement for making the image look good on the print side. Obviously with any 4 perf process it's all 1:1, which is one of the major reasons anamorphic 35mm is still such a great format. Even when you go through the IP>IN>Release print phase, it still retains a good amount of quality.  |  IP: Logged Thomas Hauerslev Master Film Handler Posts: 451 From: Copenhagen, Denmark Registered: Aug 2000 posted 12-22-2017 10:30 PM                        I once interviewed lens legend Joe Dunton about Super 35, and "Dance Craze" http://www.in70mm.com/news/2011/dance_craze/index.htm  |  IP: Logged Kieran Hall Film Handler Posts: 28 From: Coventry, UK Registered: Nov 2017 posted 12-23-2017 04:43 AM                        It looks like the UK will be getting a 70mm print at Picturehouse Central.  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 12-27-2017 12:35 AM                        Just wanted to say, the movie is brilliant and well made. The print at Arclight was perfect, though in my particular theater, there was a slight jitter and the lamp wasn't very consistent either. It was fine across the way in the other theater which was also 70mm. So it was just that projector, which wasn't "bad" but noticeably not perfect. That theater use to have a Kinton in it, but it looks to have a JJ now. I think the theater shifted around projectors with all these 70mm screenings of recent. Still the print was beautiful and for sure photochemically made.  |  IP: Logged Daniel Schulz Master Film Handler Posts: 387 From: Los Angeles, CA USA Registered: Sep 2003 posted 12-27-2017 01:33 AM                        quote: Just wanted to say, the movie is brilliant and well made. Still the print was beautiful and for sure photochemically made. Seconded.  |  IP: Logged Jason Metcalfe Expert Film Handler Posts: 134 From: Austin, TX, U.S. Registered: May 2010 posted 12-27-2017 11:13 AM                     We'll be running this in 70mm at the following Drafthouse locations: - Ritz - Austin, TX (c/o) - Mission - San Francisco, CA (c/o) - Brooklyn, NY (platter)  |  IP: Logged Scott Jentsch Phenomenal Film Handler Posts: 1061 From: New Berlin, WI, USA Registered: Apr 2003 posted 12-28-2017 03:39 PM                        As of today, we have the following locations playing Phantom Thread in 70mm now or in the future: California Hollywood ArcLight Hollywood Los Angeles The Landmark San Francisco Alamo Drafthouse Cinema - New Mission Illinois Chicago Music Box Theatre Massachusetts Brookline Coolidge Corner Theatre New York Brooklyn Alamo Drafthouse Cinema - Downtown Brooklyn New York AMC Loews Lincoln Square 13 Texas Austin Alamo Drafthouse Cinema - The Ritz  |  IP: Logged Sean McKinnon Phenomenal Film Handler Posts: 1712 From: Peabody Massachusetts Registered: Sep 2000 posted 12-30-2017 06:52 PM                        How have the changeover houses been receiving their prints? Reels or cores? If cores has this caused any issues?  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 12-30-2017 07:01 PM                     I know the Castro in SF is getting it on cores but they have a 70mm splithub. They are doing an advance screening and the New Mission is sending reels over for the Castro to put it on.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 12-30-2017 11:19 PM                     I'm fairly disappointed there are no Dallas-area shows of Phantom Thread. Austin gets a print but Dallas doesn't? What's going on here?  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 12-31-2017 10:12 AM                        Sean--I am told that the Coolidge got their print on cores.  |  IP: Logged Sean McKinnon Phenomenal Film Handler Posts: 1712 From: Peabody Massachusetts Registered: Sep 2000 posted 12-31-2017 11:48 AM                        They did. We loaned them a 70mm split reel. That is how I found out about it being sent on cores. I am curious how this works out.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 12-31-2017 02:16 PM                     Indeed, I have a feeling there will be a lot of winding damage during return shipping on cores. Here in the US historically theaters have not been well equipped to handle film on cores and most operators aren't all that knowledgeable on how to deal with it...most specifically the large size and weight of 70mm. I've seen in the 35mm days where people used a trailer flange and tried to wind a 2000' roll of 35mm using that. The results were not ship-able without edge damage. I can't imagine what will happen with the 70mm prints. Even the cores those are sent out on are the Kodak 3 inch cores, so there is no drive pin to use (required by many platters for breakdown since some of these are running on platters). Are there even scribed cues on these prints on cores? If not that will certainly get interesting since 70mm cue scribers are hard to find. Finally are these being sent out as AB rolls or separate A and B rolls? If so then halfway through each reel there is going to be an unnecessary and likely visible tape splice instead of doing it properly with an ultrasonic weld.  |  IP: Logged Sean McKinnon Phenomenal Film Handler Posts: 1712 From: Peabody Massachusetts Registered: Sep 2000 posted 01-01-2018 02:01 PM                        I understand that a different company with unknown (at least to me) experience in 70mm is handling this one. I think the A and B rolls were joined but I don't know if it was done ultrasonic. I know when we did it for H8 and Dunkirk we used ultrasonic splices to join the A's and B's  |  IP: Logged

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