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Author Topic: Digital Classics
Todd McCracken
Master Film Handler

Posts: 263
From: Northridge, CA, USA
Registered: Mar 2008


 - posted 01-07-2010 12:55 PM      Profile for Todd McCracken     Send New Private Message       Edit/Delete Post 
Hopefully in about a week here I can post the titles of repertory prints that I have seen flowing in here for distribution (pesky non disclosure agreements) [Smile]

But until then, You may want to contact your bookers as indeed a large amount of titles are quickly becoming available.

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 01-07-2010 01:39 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
So, what does it cost now to scan, compress, and encode an existing film for DCI? Assume that film elements are available and in good condition.

Are Academy-ratio titles being released with pillars on the sides? How do the distributors deal with silent films that run at speeds other than 24fps?

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Kris Verhanneman
Expert Film Handler

Posts: 182
From: Belgium
Registered: Dec 2009


 - posted 01-07-2010 01:55 PM      Profile for Kris Verhanneman   Email Kris Verhanneman   Send New Private Message       Edit/Delete Post 
In France, the distributor Gaumont is releasing every month one of his classics in 2K DCP. They are scanning and restoring old classics from the 50' 60' and 70's

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Joe Tommassello
Jedi Master Film Handler

Posts: 547
From: Coatesville, PA, USA
Registered: Jan 2008


 - posted 01-07-2010 04:52 PM      Profile for Joe Tommassello   Email Joe Tommassello       Edit/Delete Post 
I'd be particularly interested if any of the studios are dipping into their 3D classics for digital cinema. Seems like Universal has been quite active in getting their classic catalog ready so why not "Creature from the Black Lagoon" and "Revenge of the Creature" in a 3D double feature package? I'd bet it does surprisingly well. If they were on the ball they'd be working them already since 3D TV is on the verge of exploding and there is not really a lot of quality product.

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Stephen Furley
Film God

Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002


 - posted 01-10-2010 03:12 AM      Profile for Stephen Furley   Email Stephen Furley   Send New Private Message       Edit/Delete Post 
quote: Scott Norwood
Are Academy-ratio titles being released with pillars on the sides? How do the distributors deal with silent films that run at speeds other than 24fps?
In the case of the two that I've shown, yes.

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99


 - posted 01-10-2010 01:05 PM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
The old Cinerama titles need to be converted to DCI. Keeping 3 digital projectors in sync would be very easy.

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Caleb Johnstone-Cowan
Jedi Master Film Handler

Posts: 593
From: London, UK
Registered: Mar 2006


 - posted 01-11-2010 08:04 PM      Profile for Caleb Johnstone-Cowan   Email Caleb Johnstone-Cowan   Send New Private Message       Edit/Delete Post 
I saw The Red Shoes in digital recently, if you can see or book it do so, stunning film and beautifully restored.

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Martin Brooks
Jedi Master Film Handler

Posts: 900
From: Forest Hills, NY, USA
Registered: May 2002


 - posted 03-05-2010 11:57 AM      Profile for Martin Brooks   Author's Homepage   Email Martin Brooks   Send New Private Message       Edit/Delete Post 
quote: Mark Lensenmayer
Regarding a 70mm WOODSTOCK, there is some dispute about this. There is an article in a Kodak Publication that indicates 70mm prints were going to me made. But no one I know of has ever been able to confirm any screenings. It remains a mystery.

I've debated this with "film historians" for years. My strong recollection is that I saw Woodstock in 70mm 6-track discrete at the Trans-Lux West on Broadway and 49th Street in NYC. For the surrounds, they had Altecs sitting in the aisles, but it sounded great. The surrounds were mainly used for the stage announcements.

But I can't prove it. I also had a recollection that it also played at the Trans-Lux East in 4-track mag and that I chose to see it in 6-track and 70mm (natch) based on a newspaper ad. However, I've gone back to the NY Times, Village Voice, NY Post and Daily News microfilm records and there is absolutely nothing in any ad that I could find that indicates anything about the format...not even a mention of stereo. So I no longer remember how I would have known which theatre had the superior format, unless I just happened to walk by the theatre, which is possible because my father's office was next door, although that still doesn't explain how I chose the TL West over the East, because my inclination would have been the East, since the TL West had been primarily a newsreel theatre and I wouldn't have expected the presentation to be very good.

But then I also remembered seeing what I thought was a revival 70mm print at the Museum of the Moving Image in Astoria, Queens. But I contacted the curator, David Schwartz, and he wrote that he remembers the print being a 35mm IB Tech print with 4-track mag sound. However, he also said that (although he didn't supply any documentation), that 70mm prints were definitely made and he "thinks" that it must have played in 70mm in NYC. But obviously, that's not "proof" either.

So yes, it's still a mystery. But I still maintain that I saw it in 70mm, as stated.

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Mark Ogden
Jedi Master Film Handler

Posts: 943
From: Little Falls, N.J.
Registered: Jun 99


 - posted 03-05-2010 07:38 PM      Profile for Mark Ogden   Email Mark Ogden   Send New Private Message       Edit/Delete Post 
There is a least one 70mm print of Woodstock out there, it was shown last year at the Roger Ebert film festival in Illinois. It must be a pretty recent one, though, because it was the four hour version, which I don't recall being seen before recently. Steve Krauss (whatever happened to him?) would have handled it.

In point of fact, the 35mm prints of this title are all, in actuality, 70mm reduction prints. Because the production wanted a multiple split-screen effect using the original 16mm footage, the decision was made to rephotograph it by making multiple passes onto a 70mm negative, using a layout designed by Thelma Schoonmaker.

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Michael Coate
Phenomenal Film Handler

Posts: 1904
From: Los Angeles, California
Registered: Feb 2001


 - posted 03-06-2010 01:15 PM      Profile for Michael Coate   Email Michael Coate   Send New Private Message       Edit/Delete Post 
The "Woodstock" screening at EbertFest was a digital projection presentation.

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