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Author Topic: Once Upon a Time ... in Hollywood 70mm/35mm release? Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 07-27-2019 11:24 AM                        The LA problem was weird. The SR-D would drop to SR for a few seconds after the changeover to each even numbered reel, and then come back in again. After a lot of investigation of the cat700 penthouse reader on the projector that was exhibiting the glitch, we swapped the reel order, such that the even numbered reels played on the other projector. The glitch moved to the other projector. My only guess is that the lab used one panel contact printer to create the track dupe negs of the even numbered reels, and another for the odds, or even that two printers were used to strike the release prints itself (one for evens, one for odds). A DTS/Datasat mix must have been created for the 70, so it's a pity that they didn't put a timecode on the 35mm prints as well. For DTS 35-equipped venues, that would have offered significantly more dynamic range, especially at the high end.  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 07-27-2019 01:46 PM                     BWT Mark those parts that came from Oakland were from my personal stock that an old projectionist and mentor gave to me before he passed away. I was also the one that made the arrangements for the loan of parts from the Presidio Theatre in San Francisco. [edit] Leo, Running a 35mm print at the Grand Lake in Dolby Digital with no issues. Most reel are between 2-4 on error rate. One reel is 5-5.5 but no dropouts.  |  IP: Logged David Kornfeld Film Handler Posts: 24 From: Cambridge, MA/USA, USA Registered: Apr 2017 posted 07-27-2019 02:33 PM                     I'm running a 35mm print of this as I type. Print is nine reels, cyan track, SR-D, scope. The Dolby Digital track is 5.1, though the DCP has a 7.1 track. Go figure. There are NO cues at the end of any of the reels; had to scribe my own. There is NO sound distortion, NO dropping down to SR, NO soft focus on the print we have here. If you have seen/heard/experienced these problems, either something is wrong with the equipment, something is wrong with the operators, or something went wrong with the later prints (ours is #16). From what I was told, one digital master was created & used for all formats (looks 4K to me), so 4K DI to 4K DCP, 4K 35mm IN, 4K 70mm IN. There are the usual problems from going this route, which are especially apparent in the darker scenes. Also, spoiler, 4K is not nearly enough for a full scope frame, but what do I know. As for those individuals advocating for more 70mm installations: I beg you to stop. As I have mentioned on other threads, the number of people who can run 70mm without introducing damage to the print(s) is frighteningly small. The only thing that will successfully be achieved with an increase in 70mm venues is that the ever-dwindling number of available archival prints out there will be further depleted from damage & destruction from shoddy equipment and/or operator incompetence. I have seen this with my own eyes: prints we received in excellent condition have come back damaged the next time we booked them. This is a situation that is not going to improve. Please face reality: the vast majority of Hateful 8 prints were wrecked. The vast majority of those recent 2001 prints were wrecked. You can bank that the majority of these Once Upon a Time prints will BE wrecked. And I'd even be willing to bet that a majority of the 35mm prints will also get wrecked. This is the world we now live in. Cherish it.  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 07-27-2019 04:06 PM                     Grand Lake has print #30.  |  IP: Logged Mark Louis Film Handler Posts: 21 From: Austin, TX USA Registered: Oct 2018 posted 07-27-2019 04:37 PM                     quote: Stephan Shelley BWT Mark those parts that came from Oakland were from my personal stock that an old projectionist and mentor gave to me before he passed away. I was also the one that made the arrangements for the loan of parts from the Presidio Theatre in San Francisco. Thanks Stephan! Real life saver!  |  IP: Logged Chris Haller Film Handler Posts: 68 From: Rochester, NY, USA Registered: Dec 2015 posted 07-27-2019 05:48 PM                     I received word from a Facebook friend that The Little made it 3 or 4 reels onto their print before they tossed in the towel and finished the film in digital today. It’s going to be a rough engagement....  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 07-27-2019 06:10 PM                     Your welcome Mark. I come from an era when theatres would help each other out in emergency even if they were competitors. If the theatre did not have the part needed the projectionist(s) knew who to call and where to find the needed parts.  |  IP: Logged Mark Louis Film Handler Posts: 21 From: Austin, TX USA Registered: Oct 2018 posted 07-27-2019 06:13 PM                     Getting great feedback about 70mm at New Mission. Other than an additional gear lash adjustment possibly needed on one machine, shows are humming along nicely. In addition to aforementioned Stephan Shelley and Matt Leach, shout out to Sam Chavez, Frank Lee and Matt Pire who were also integral in saving the day. Knowing passionate people in this industry makes all the difference! Concerning 35mm, I'm reliving my film past with many reports now coming in about possible equipment issues. Now that we're getting more than a few hours on these puppies, noisy intermittents, image unsteadiness, sound drums dragging and sound processor issues are some of what I'm hearing. Hold on to your butts! It's going to be a hell of a ride!  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 07-28-2019 05:43 AM                     Note, that coupler (I "think" its part number was CG-639 or CG-629...it's been a while). That is what we ran on at the Uptown was the original coupler. Wolk was the only one that was supplying that coupler in later years; Strong never supplied it as a repair part. Under the various stewardships of Century, it changed to a flex shaft that didn't survive very well and then to a helical type flex shaft and I think that was its last incarnation. What normally did in the original rubber type was "grease" running down form the projector head via the vertical shaft and soaking the rubber and causing it to pucker up become too soft. The penthouse one (exact same coupler) never suffered from these issues. Its only real stress would be whatever tension was on the supply reel.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 07-28-2019 10:28 AM                       Agree with Steve about the cause of the failure, but oil from the intermittent plus grease flow downward to deteriorate the coupling. This does not happen with the magnetic penthouse as gravity is our friend here. A number of folks on the west coast converted the projectors from direct drive to standard drive as the little shaft seemed awfully wimpy. Which in part is why there are some spare parts available.  |  IP: Logged Mark Louis Film Handler Posts: 21 From: Austin, TX USA Registered: Oct 2018 posted 07-28-2019 10:45 AM                     I sourced a replacement Gear Grip Flexible Rubber Shaft Coupling from Guardian in Michigan City, IN, and had it shipped in case we couldn't find an original vertical shaft in time. Rubber had definitely been softened over time.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 07-28-2019 08:43 PM                     The metal parts never wore out (unless the tech went crazy on the set screws) so only the rubber part would be needed. In many ways, I preferred the rubber coupling to the later incarnations and definitely didn't like the flex shaft thing.  |  IP: Logged Mark Louis Film Handler Posts: 21 From: Austin, TX USA Registered: Oct 2018 posted 07-28-2019 09:06 PM                     Actually, the metal hubs are die-cast zinc and were noticeably out of round. On the second machine the sleeve didn't fail. Instead, the hub actually started slipping on the shaft as it became oblong and the set screw slipped passed the flat spot on the shaft.  |  IP: Logged Tim Androes Film Handler Posts: 34 From: seattle, washington, united states Registered: Aug 2015 posted 07-29-2019 12:49 AM                     Steve...are the parts you reference different from R31-73 flexible coupling assembly and R50-373?  |  IP: Logged Marcel Birgelen Film God Posts: 3357 From: Maastricht, Limburg, Netherlands Registered: Feb 2012 posted 07-29-2019 01:25 AM                     quote: David Kornfeld From what I was told, one digital master was created & used for all formats (looks 4K to me), so 4K DI to 4K DCP, 4K 35mm IN, 4K 70mm IN. There are the usual problems from going this route, which are especially apparent in the darker scenes. Also, spoiler, 4K is not nearly enough for a full scope frame, but what do I know. That doesn't really sound like Tarantino to me. Are you sure the film prints are sourced from the 4K DI?  |  IP: Logged

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