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Topic: The Joker from WB to be released in 5/70mm
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Tyler Purcell
Expert Film Handler
Posts: 180
From: Van Nuys, CA
Registered: Dec 2015
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posted 08-12-2019 02:09 AM
So here is the issue with making 70mm prints.
Unlike 35mm recorders, the 70mm recorders are very slow. It takes 16 - 18 days to make the master internegative that the prints are struck off. Then you've gotta ramp up production and strike the prints. Fotokem is the only lab in the world that can make color 70mm theatrical prints from an IN.
So lead time is everything and the movie right now has a major issue, so it's being re-cut. Considering things like world premiere schedules and such, they have to lock picture by a certain time and a re-cut would mean, everyone needs to re-tweak, VFX, audio mix, color, the whole 9 yards. So they may even resort to showing a non-finished product at the premiere, which happens a lot. The film comes out in October, so lets say they finish end of August, they've got September to do all the print work? No way..... it's too tight of a schedule.
Back in the day, once they'd have a cut negative, it would be easy to make prints. With 50+ printers in LA alone running at 200ft per minute, you could make a few hundred prints in the same time it takes to laser out a single 70mm IN from a computer.
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Marcel Birgelen
Film God
Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012
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posted 09-03-2019 04:29 AM
quote:
What I don't like about it is the camera, just like the vision from your eyes, sees a natural vanishing point in the dead center of the image. Different planes of perspective will differ from that vanishing point, but there is a still a natural relationship present.
As long as you use an "open matte" approach and you crop the same ratio from all sides, I don't see any harm done here.
Besides some stability corrections, which don't really meaningfully affect the vanishing points in the picture, I guess it's generally considered to be bad cinematography to pan-and-scan around the image.
Yes, some of those scope to 4:3 pan&scan transfers were pretty horrible, but otherwise, watching scope on a 4:3 screen always was a bit of "slit-o-vision". ![[Wink]](wink.gif)
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Marcel Birgelen
Film God
Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012
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posted 09-06-2019 07:42 AM
I agree with you on that one, but... (would be a boring discussion without a but, wouldn't it?)
For most people I know outside of this industry, I think, the added value for "presented in 70mm" is also close to zero, unfortunately.
Maybe, let me call it, the "don't know what it is, but it must be good"-value (or value-of-positive-ignorance ?) of 70mm is higher than that of "Presented in 4K", since many people know they do have "4K" at home, but have no clue about 70mm. That might lift it up just a little bit, but most people either have never heard of 70mm or if they have, it reminds them of "old movies".
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