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Author Topic: What is the most moronic beef you have with this industry? Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 03-29-2003 09:41 PM                    Jhawk asked: why is contact printing long -> short any different than printing short->long? I understand why short->short or long->long is bad... You want to go short > long because the original is going to be on the inside, right on the printing sprocket, while what you're printing onto is bipacked on top and therefore a very slightly larger diameter. The light source is inside the machine and beamed up and out through the sprocket. Maybe someone ought to design a printer where light can optionally be beamed from the outside in for the added flexibility of being able to print long > short while keeping the two pitches in the proper place (short pitch inboard, long pitch outboard) for minimal slippage.  |  IP: Logged Christian Appelt Jedi Master Film Handler Posts: 505 From: Frankfurt, Germany Registered: Dec 2001 posted 03-30-2003 04:40 PM                     quote: I suspect that those problem prints may not be on Kodak VISION Color Print film. What is the edgeprint ID? John, since I do not work at a first-run house, I didn`t check the actual print stock. I will find out what stock it was the next time I see inferior print quality. BTW, GANGS OF NEW YORK was a really lousy print, two local projectionists told me they got numerous complaints from customers about the total lack of sharpness. I retreted to the last rows (about 2 times screen width) and still could not help noticing the bad focus. (Now they tried to focus it better, but the print was just lousy. One of the theatres has been rented to a local mini-chain with just a few months to go, so they will not put pressure upon the distributors.) After seeing GANGS I`m really glad Conrad Hall got the cinematography Oscar instead of Michael "360 degree" Ballhaus! I suspect that most academy member voters see the movies on DVD/video anyway, and that they are totally unable to perceive the difference between set/costume design and the artistic work of the cinematographer. If it is a period piece and has great sets, it must be epic, and if it`s epic, they assume the camerawork must be great.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 04-01-2003 01:46 PM                        AFAIK, many European prints of "Gangs of New York" were NOT printed on Kodak film.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 04-01-2003 02:06 PM                        Why would they change print stock? The US prints are on Eastman 2393 Vision Premier and look terrific.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 04-01-2003 02:16 PM                        It's not unusual for distributors to print on different print stocks in different territories.  |  IP: Logged Charles Everett Phenomenal Film Handler Posts: 1470 From: New Jersey Registered: May 2001 posted 11-23-2003 05:37 PM                     A long, long time ago Scott the "Film God" said: quote: Obviously there are plenty of genuinely good films [though many are poorly marketed]. One variation on this is "Arthouse Films That Studios Don't Want in Megaplexes". The kicker is some of these arthouse pictures have a genuine hook to draw people. Pieces of April is set around Thanksgiving -- yet MGM didn't put that title in any megaplexes before the holiday. That picture would have done better than The Human Stain (which opened in New Jersey day-and-date with Manhattan). The Station Agent has a backwoods/New Jersey/railroad theme. Word of mouth has made this film an arthouse hit, yet Miramax didn't push to get it into megaplexes. At least Princeton's upgraded arthouse got to play The Station Agent.  |  IP: Logged

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