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Author
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Topic: Upcoming 70mm Screenings
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John Stewart
Film Handler
Posts: 67
From: Austin, TX, USA
Registered: Sep 2001
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posted 06-11-2007 10:59 AM
Bobby,
I'm sure the LOA print, coming to the Paramount, will be DTS. The print is usually here a week before hand, so, I'll let you know. We seem to show it every summer and the prints we get seem to be holding up and staying clean so far. Very pretty print.
Emma,if you come down again, be sure to come up and say hello again. Bobby, the same to you. Bring any extra 70mm reels you might have laying around. Except for LOA and TITANTIC, everything will come in on cores.
Ben, the Paramount has JJ's. One machine has a 2 lens turret and the other is an earlier model. Go to the pictures section and look for our pictures under single screens. Since these pictures were taken, we have installed a CP200.
John
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Michael Coate
Phenomenal Film Handler
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 06-19-2007 10:37 PM
quote: Mark Gulbrandsen
That whole Bill Bennett thing is certainly nothing but a bunch of hype. This has been done in past years and with 65mm as well as other formats in 35mm and at differing speeds.
What gives this latest test some relevance is that it takes into account current post-production and exhibition practices (i.e. digital intermediates and digital projection) but also illustrates just how good 65/70mm origination and projection can be. The whole point is to remind people of just where the quality bar actually is.
quote: Mark Gulbrandsen
People try to take credit for reviving or creating a new format and what ever it is they try it already exists.
I don't recall Bill Bennett boasting about reinventing the wheel or finding a cure for cancer. Bennett simply is the guy who shot the demo, and I'm the one who happened to interview him and made the piece available to you. Don't read into the situation any more than necessary.
More info on the UCLA screening, courtesy of Videography.com:
quote:
4K Projection of 65mm and 35mm Footage
by Staff
Kees Van Oostrum, ASC, and Bill Bennett, ASC will be hosting an interesting event at UCLA next week: a 4K projection demo of 65mm and 35mm footage.
This demonstration is designed to explore the possibilities for improving image quality to maximize the movie-going experience. It is based on practical experiences of Oostrum, who directed and shot We Fight To Be Free, which recently opened at the Mt. Vernon Visitors Center in Virginia, and Bennett, who directed and shot a test conceived by ARRI. Scenes were shot in 65mm 5-perf, anamorphic 35mm, and Super 35mm spherical, and then combined through digital intermediate postproduction.
The 65mm negative was scanned at 8K resolution and down-sampled to blend with the 35mm scanned at 6K in a 4K DI workflow.
The demonstration will include state-of-the-art 4K digital projection of a direct comparison of the same scenes shot in all three formats. We will also show a first generation 35mm contact print made from an internegative created with an Arrilaser recorder of the same source material. You will also see something shown only once before: a "zero generation" print recorded directly onto 35mm release print stock in the Arrilaser.
The final demonstration is not to be missed: a 70mm contact print made from the original 65mm camera negative will be projected. This is an opportunity to see "how good it can get" and discuss the possibilities for a new golden age of cinema.
WHEN: Thursday, June 21 at 7:00 p.m.
WHERE: James Bridges Theatre, UCLA,
Park in Structure 3 (Enter off Hilgard Ave, at the Wyton Dr. entrance)
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Michael Coate
Phenomenal Film Handler
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 07-11-2007 08:17 PM
Abel Gance's "Napoleon" (the early '80s restoration) will be screened in L.A. this weekend. From Los Angeles Times:
quote:
'Napoléon,' the man and mostly the myth
Abel Gance's restored 1927 epic shows the French commander and emperor as the greatest of heroes. The film is screening at the Los Angeles County Museum of Art.
By Kevin Thomas
Special to The Times
July 11, 2007
To mark Bastille Day, the Los Angeles County Museum of Art will screen Abel Gance's legendary 1927 epic "Napoléon," which has rarely been shown publicly since its 1981 restoration by film historian Kevin Brownlow, complete with tinted sequences, and presented by Francis Ford Coppola with a score composed by Coppola's late father, Carmine, that is as glorious as the silent classic is itself. (Brownlow also completed a five-hour version in 2004.)
On Friday and Saturday at 7:30 p.m., LACMA will be screening the splendid print struck by Universal in 70 millimeter in the early 1980s, for which Carmine Coppola's orchestral score was recorded in stereo and transferred to the print.
This two-part, amazingly fast-moving and swiftly engaging 235-minute reconstruction premiered in 1980 at Radio City Music Hall with much fanfare, and soon after that at the Shrine Auditorium in L.A. Gance, who had traveled to the 1979 Telluride Film Festival for a work-in-progress presentation, complete with its famous triptych concluding sequence, was able to hear the ovations accorded "Napoléon" in New York over the phone from his apartment in Paris, where he died in November, 1981, at 92.
"Napoléon" is history as an action-filled pageant, filled with as many cliffhanging flourishes as a serial, relieved from time to time with scenes of intimacy and humor. Gance was as natural and energetic a storyteller in the silent screen medium as Cecil B. DeMille — and could stage an orgy with similar zest. His visual flair remains awesome and richly varied. He staged complex battle scenes with ease yet could create images as richly textured as those of Josef von Sternberg.
Yet more than anything else, Gance is engaged in mythmaking in regard to his treatment of Napoleon — as much as Leni Riefenstahl would be several years later with Adolf Hitler in her eternally controversial "Triumph of the Will." Indeed, "Napoléon" would seem the very embodiment of John Ford's famous command, "Print the legend," yet Ford's heroes were often far more complex than Gance's unflappable Bonaparte.
The film covers Napoleon's youth through his siege of Italy in 1796, and Gance was never able to complete Bonaparte's story, as he had intended. In any event, Napoleon, with his dream of a unified Europe, is depicted as the greatest of heroes, a man of stupendous vision and courage and seeming faultlessness.
"In this film," wrote Gance, "I neither judged nor prejudged what was to happen to Napoleon after Italy.... I might have become one of his detractors. My Bonaparte was in that long line of republican idealists of which Christ was the first example."
Gance's Bonaparte is played with appropriate stoicism by jut-jawed, hawk-nosed, diminutive Albert Dieudonné, blessed with an all-important piercing gaze.
It is fortunate that Gance spends 25 minutes depicting the youthful Napoleon's character-forming, destiny-determining experiences at a French military academy, where he endured much abuse as a fiercely proud native of Corsica, dismissed by a professor as "a half-savage island." (There's a dormitory scene that surely inspired Jean Vigo's "Zero for Conduct.") The adult Napoleon is unvaryingly sober, insubordinate and unstoppable in his rise in the military through the tumult of the French Revolution and its savage aftermath — which he found deplorable in its excesses — to become in his own mind, France itself. Talk about the ultimate revenge.
It would seem that his sole distraction — and one that would ensure his career-making command of the invasion of Italy — was Joséphine de Beauharnais (a lush, Junoesque Gina Manès), a divorced viscountess with two children and a reputation for being able "to seduce even the most virtuous." Once the two met, Josephine, realizing her lover, who happened to be Napoleon's commander-in-chief, was tiring of her, agreed to marry Bonaparte if he in turn were given command of the Italian campaign — a deal apparently unknown to Napoleon.
The emperor-to-be's awkward, impassioned courtship of the sophisticated, somewhat older Josephine allows for the film's most charming and amusing sequence. It leads to a stunningly revealing moment, when, envisioning Josephine's smiling face on a globe, Napoleon kisses it; clearly, conquering Josephine and the world were one and the same to Napoleon.
The roughly 20-minute triptych sequences, for which the screen image greatly expands, covers the invasion of Italy over the Alps in a format that symbolizes Napoleon's dream of a unified Europe.
Toward the end of the three sepia-tinged sequences, the left image turns a tinted blue, the right image, a tinted red, embodying visually just what Napoleon intends for Europe. It's an undeniably dramatic, highly portentous effect, but one requiring Gance's three-projector Polyvision process that ultimately doomed "Napoléon" to its long undeserved obscurity, with Gance, in between other films, driven to reworking — yet perversely ever-diminishing — his cherished epic in various forms as late as 1970.
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