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» Film-Tech Forum ARCHIVE   » Operations   » Digital Cinema Forum   » Will 4K be the next 70mm? (Page 3)

 
This topic comprises 16 pages: 1  2  3  4  5  6  ...  14  15  16   
Author Topic: Will 4K be the next 70mm?
Bobby Henderson
"Ask me about Trajan."

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From: Lawton, OK, USA
Registered: Apr 2001

- posted 09-23-2010 11:29 AM      Profile for Bobby Henderson   Email Bobby Henderson   Send New Private Message       Edit/Delete Post 
quote: Martin McCaffery
And Hamlet was over 4 hours long, making it the longest English language movie ever commercially released.
I don't know what English language movie has the longest run time, but I know Hamlet doesn't hold the record. One movie that comes to mind is Little Dorrit (1988), based on the Charles Dickens novel. Alec Guiness was nominated for a Best Supporting Actor Oscar. The movie had a run time of 357 minutes -nearly 6 hours.

It's frustrating that Hamlet didn't play in more 70mm-equipped theaters. I seem to remember its New York engagement playing only at the Paris theater. I don't know if any Dallas area theater ever showed it in 70mm.

quote:
In fact Cameron would continue to use 70mm for True Lies And Titanic!
Unfortunately those were blow-ups from 35mm sources.

Several movies were released with 70mm blow-up prints in the 1992-1993 time frame after the introduction of Dolby Digital. Sony had 70mm blow-up prints of Cliffhanger. Because SDDS was in its test phases Sony used 70mm blow-up prints on the The Last Action Hero, In the Line of Fire and Geronimo: An American Legend. I remember 70mm blow-up prints being made for movies like Short Cuts and Gettysburgh.

Baraka, boasting real 65mm/70mm imagery, toured the United States from one theater to the next during that time period.

I recall at least a couple theaters showed 70mm blow-up prints of The Wild Bunch when its late 1990s restoration was released. Unfortunately the Northpark theater in Dallas didn't get a 70mm print, just 35mm Dolby Digital instead.

In the late 1990s it seemed like most of the 70mm blow-up prints being made were special one-off blow-ups in 70mm DTS for the Spektrum stadium in Sweden. The site had a giant sized screen far too large for 35mm projection. Movies like Independence Day and several others had 70mm DTS prints made for that venue.

Since then it seems like the only new 5-perf 70mm prints being made have been for older movies and for special screenings at certain theaters in Los Angeles or New York. IMAX and its DMR thing took over everywhere else and now IMAX is undermining it with IMAX Digital and the confusing way it is branding it.

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Greg Anderson
Jedi Master Film Handler

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From: Ogden Valley, Utah
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- posted 09-23-2010 11:59 AM      Profile for Greg Anderson   Author's Homepage   Email Greg Anderson   Send New Private Message       Edit/Delete Post 
Like Bobby said, all of James Cameron's 70mm prints were blow-ups (except for the special venue Terminator thing). So my point, really, was that after Panavision and Arriflex went out of their way to make new 65mm cameras around the year 1990 only one Hollywood production actually used them to make a whole movie. D'oh! Even the Mormon church did better than that! (They made two movies using the Arriflex 765 cameras and those movies were shown at a special venue in Salt Lake City.)

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Victor Liorentas
Jedi Master Film Handler

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- posted 09-23-2010 05:31 PM      Profile for Victor Liorentas   Email Victor Liorentas   Send New Private Message       Edit/Delete Post 
Yes i know True Lies & Titanic were blow ups but it is noteworthy that Cameron had 70mm prints made as late as 1997!

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Bobby Henderson
"Ask me about Trajan."

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From: Lawton, OK, USA
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- posted 09-23-2010 10:01 PM      Profile for Bobby Henderson   Email Bobby Henderson   Send New Private Message       Edit/Delete Post 
As I mentioned earlier, 70mm prints serve more than just the purpose of showing a higher resolution image than 35mm or digital can deliver. 70mm prints can be projected on much larger screens with steadiness far superior to that of 35mm and brightness/contrast that trounces digital. I'm glad Cameron did the arm twisting necessary to get 70mm blow-up prints made of True Lies and Titanic.

In the United States alone there are dozens of traditional theater screens across the country that really need to be using 5-perf 70mm projection instead of 35mm or digital. But they're not doing that and the images projected on those giant screens are frankly unacceptable looking as a result.

When it comes to 35mm or digital projection I'll choose a modest sized screen/auditorium over a giant sized one. The movie will look better.

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Victor Liorentas
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- posted 09-23-2010 10:37 PM      Profile for Victor Liorentas   Email Victor Liorentas   Send New Private Message       Edit/Delete Post 
YES i agree Bobby!
I was hoping for some 70mm prints of Inception and even The International but i guess the will to push for this is near dead.
I do keep hoping for it though.

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Martin McCaffery
Film God

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From: Montgomery, AL
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- posted 09-23-2010 10:57 PM      Profile for Martin McCaffery   Author's Homepage   Email Martin McCaffery   Send New Private Message       Edit/Delete Post 
quote: Bobby Henderson
I don't know what English language movie has the longest run time, but I know Hamlet doesn't hold the record. One movie that comes to mind is Little Dorrit (1988)
At least in this country, Little Dorrit was released in two parts. We ran both. I'm relying on Variety at the time of Hamlet's release for the claim as the longest running English language film commercially released.

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Bobby Henderson
"Ask me about Trajan."

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From: Lawton, OK, USA
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- posted 09-23-2010 11:11 PM      Profile for Bobby Henderson   Email Bobby Henderson   Send New Private Message       Edit/Delete Post 
quote: Victor Liorentas
I was hoping for some 70mm prints of Inception and even The International but i guess the will to push for this is near dead.
That would have been great considering both movies used 65mm cameras on at least a couple or more scenes. Inception used 5/65mm considerably more than The International.

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Ramon Lamarca Marques
Expert Film Handler

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From: Edgware, England, UK
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- posted 09-25-2010 06:14 AM      Profile for Ramon Lamarca Marques   Email Ramon Lamarca Marques   Send New Private Message       Edit/Delete Post 
In a recent interview for a film magazine from Spain Nolan discusses all the formats they considered for Inception, including 3-D and Showscan. He says he does not like to have to use glasses to see 3-D and that he prefers a captivating and bright image (thus implying 3-D is too dark). He then says that he is extremely happy of being able to release the film on 35mm prints with a bright projection and the best image quality possible. His interview was translated into Spanish and I am now translating it again into English so things are probably lost in translation. Nevertheless in the context of the interview it seems that Nolan currently prefers 35mm projection to digital 2K 2-D or digital 3-D projection. Why would he mention 35mm otherwise? He ignores 5/70mm projection maybe because he thinks it is not feasible? And curiously he does not mention IMAX blow-ups either.

Ideally, it would be good to have non-widescreen 3-D films on the IMAX 15/70 screens and widescreen films shot using 65mm or VistaVision on 5/70 mm on Todd-AO like screens (perhaps with less curve).

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Greg Anderson
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From: Ogden Valley, Utah
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- posted 09-28-2010 03:55 PM      Profile for Greg Anderson   Author's Homepage   Email Greg Anderson   Send New Private Message       Edit/Delete Post 
quote: Ramon Lamarca Marques
Ideally, it would be good to have non-widescreen 3-D films on the IMAX 15/70 screens and widescreen films shot using 65mm or VistaVision on 5/70 mm on Todd-AO like screens (perhaps with less curve).
That's easy for us to say but is it true? If so, why won't Hollywood believe it? We used to rely on Cameron, Zemeckis, Spielberg and Lucas to insist on the best, state-of-the-art technology to shoot their films. Why haven't they used Super Panavision 70? If Chris Nolan is the only visionary making movies today who dares to use large format cameras (and has the power to demand that the studio support him) why won't he shoot a whole movie in a large format?

I'm not trying to be a troll here but, really, I think it makes us look like the ignorant ones when we make these declarations about what the experts should be doing when none of them will do it. What we say sounds like pure speculation. Can we have some facts? Why won't anyone shoot a whole movie in 65mm?

It would appear that the answer to the original question of this thread will be (by forfeit)... Yes.

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Ramon Lamarca Marques
Expert Film Handler

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From: Edgware, England, UK
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- posted 09-28-2010 05:10 PM      Profile for Ramon Lamarca Marques   Email Ramon Lamarca Marques   Send New Private Message       Edit/Delete Post 
quote: Greg Anderson
I'm not trying to be a troll here but, really, I think it makes us look like the ignorant ones when we make these declarations about what the experts should be doing when none of them will do it.
David Lean wanted to film Doctor Zhivago in 65mm but the producers said no. Who was the expert, Lean or the producers?

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Greg Anderson
Jedi Master Film Handler

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From: Ogden Valley, Utah
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- posted 09-28-2010 05:47 PM      Profile for Greg Anderson   Author's Homepage   Email Greg Anderson   Send New Private Message       Edit/Delete Post 
Yes, according to what I've read, Lean was assured that 'Scope would look just as good with blow-up release prints. So he agreed to do it and wasn't happy with the results. So he went back to Super Panavision 70 for his next movie. (Then, 14 years later, he ended his directing career with 35mm 1.85. Ouch!)

But that was over 40 years ago. David Lean wasn't even the only director using large formats in the 1960s. The likes of Cameron, Spielberg etc. have seen all of those movies. They have enough power to use whatever equipment they want without worrying about some other producer's objection. What do they know about large formats that we don't know?

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Ramon Lamarca Marques
Expert Film Handler

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From: Edgware, England, UK
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- posted 09-28-2010 06:25 PM      Profile for Ramon Lamarca Marques   Email Ramon Lamarca Marques   Send New Private Message       Edit/Delete Post 
quote:
Yes, according to what I've read, Lean was assured that 'Scope would look just as good with blow-up release prints. So he agreed to do it and wasn't happy with the results. So he went back to Super Panavision 70 for his next movie. (Then, 14 years later, he ended his directing career with 35mm 1.85. Ouch!)
But had he done Nostromo it would have been in 70mm, or at least this is what he wanted to do from the original correspondence I have seen reproduced. But you know what, again the producers were saying no to him and this is probably what the producers keep saying nowadays.

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Jonathan Goeldner
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- posted 10-13-2010 09:48 PM      Profile for Jonathan Goeldner   Email Jonathan Goeldner   Send New Private Message       Edit/Delete Post 
there's a rumour that Ron Frick's 'Samsara' might not go out in 70mm form even though it was shot that way - apparently it sounds like the printing/distribution might be cost prohibitive - hope this is bogus, since 4K digital projection wouldn't cut it in my opinion

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Carsten Kurz
Film God

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- posted 10-14-2010 08:37 AM      Profile for Carsten Kurz   Email Carsten Kurz   Send New Private Message       Edit/Delete Post 
Isn't it strange that the economics of D-Cinema are so important and clearly downhill, while for 70mm economics seem to be completely irrelevant and a 'just do it' factor?

- Carsten

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Jonathan Goeldner
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- posted 10-14-2010 07:18 PM      Profile for Jonathan Goeldner   Email Jonathan Goeldner   Send New Private Message       Edit/Delete Post 
sadly I wish Nolan and Tom Tykwer had filmed ALL of 'Inception' and 'The Internationalist' in 65mm - [Frown]

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