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Author Topic: Tarantino Ditches Digital At New Beverly Theater Steve Matz Jedi Master Film Handler Posts: 672 From: Billings, Montana, USA Registered: Sep 2003 posted 09-08-2014 01:58 PM                     Couldn't you two held on for a Little While Longer?  |  IP: Logged Mitchell Dvoskin Phenomenal Film Handler Posts: 1869 From: West Milford, NJ, USA Registered: Jan 2001 posted 10-08-2014 01:53 PM                     The New Beverly is now open under Mr. Tarantino's management. Click Here for the schedule. I find the last paragraph from the first post on this film-tech thread most telling.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 10-08-2014 06:55 PM                        I must try to get over there and check it out, especially as I'm told by one of the projectionists that Le Mans is going to be a 35mm, four-track mag print.  |  IP: Logged Marcel Birgelen Film God Posts: 3357 From: Maastricht, Limburg, Netherlands Registered: Feb 2012 posted 10-08-2014 08:55 PM                     Well, it will be interesting to know if those mag tracks survived the 43 years or are those prints of a more recent vintage?  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 10-09-2014 10:13 AM                        Hey, I know film collectors who, as they age, are now thinking about what to do with their collections -- they want them to be shown, not discarded when they pass. I will bet that lots of collectors would be happy to donate or at the least loan QT their prints if they knew they would be given the best treatment and a showplace that would do them justice. And as stated, no doubt this man has a GREAT library of 35mm prints that he's collected -- it's what people who love film do. And when you have money and even more importantly, if you have insider power, you can get pretty much whatever prints you want. It is well-known among the people on the exhibition side of the industry here in the Tri-State area that there was a guy who was high up on the ladder in the projectionists union who could simply pick up the phone and order prints of any title he fancied from the depot in Fort Lee. His political pull was such that if a print he got was scratched, or otherwise not to his liking, he'd send it back and demand another one. It is said that his collection was not only extensive, but pristine as well -- 4track mags and IBTechs abounding. And he was no A List Hollywood director like QT. Every collector's mouth on the east coast began to drool when he passed. So there ARE prints out there. I think Scott has it nailed down -- all you need to do to make this work is to have a passion for film and....MONEY -- lots of it. But it can work for quite a long time. And who knows, perhaps it might even catch on with some studio execs who would be into striking a few new prints of their libraries for this kind of specialty venue. I remember in the 60s when all of a sudden film was "rediscovered" as art rather than just entertainment and cinemateques and film societies sprung up on and off college campuses all over the country as did serious study courses in film, a phenomenon that made a lot of people in the 16mm industry lots of money and which was totally unforseen. The demand for classic films in 16mm kept Films, Inc., Audio Brandon, Twyman Films and a slew of other studio sublicnesee rental houses rolling in it. Out-of-the-blue phenomena like that happen for no apparent reason and it certainly could happen if a love and passion for film (the physical stuff) takes hold. It would not be beyond a possibility.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 10-09-2014 10:28 AM                        As we all know, QT's private collection, both of 35mm and 16mm, is rumored to be massive. Looking at New Bev's opening month program, it would certainly support the speculation that this is the source of a lot of what is showing: Kung Fu pics, lots of obscure and gnarly horror shows from the '70s and '80s - in short, the sort of movie he is in to and which has been the inspiration for a lot of his own movies. As for Le Mans, I agree with Marcel that the print will have to be in very good condition for its age to be showable safely. Specifically, if it has Fox hole perfs, I'd want to put every reel on a shrinkage gauge, because even with Fox hole sprockets on the projectors, perf damage will be a serious risk if a print has shrunk significantly - the margin of tolerance is that much smaller than with conventional perfs.  |  IP: Logged Mitchell Dvoskin Phenomenal Film Handler Posts: 1869 From: West Milford, NJ, USA Registered: Jan 2001 posted 10-09-2014 11:53 AM                     The problem with a future film renaissance is that it requires a vast manufacturing infrastructure to make and process motion picture film. Unlike vinyl records, for which the raw materials are plentiful due to them being used in many other products along with a fairly simple mastering/manufacturing process, the raw materials that go into film are rather specialized and will be expensive to re-create in the future. Once the currently manufactured raw stock is gone, it is unlikely that the economics of it will ever allow film to be brought back for just a limited appeal product. As too older magnetic stereo print, my experience has been that they are no more, or less, likely to be in poor/damaged condition than a older archive/collector optical prints.  |  IP: Logged Rick Raskin Phenomenal Film Handler Posts: 1100 From: Manassas Virginia Registered: Jan 2003 posted 10-09-2014 03:42 PM                     I'd be concerned that the mag sound would be degraded. I have a reel of 35mm walk-in music from the 60s, that when last run was plagued with numerous dropouts.  |  IP: Logged Jim Henk Master Film Handler Posts: 364 From: San Diego, CA Registered: Feb 2006 posted 10-09-2014 08:38 PM                     There are a few a little newer than that. I recall the Pasadena Hastings running Nightwing in 35 4-track mag. That was what - mid 80s?  |  IP: Logged Mitchell Dvoskin Phenomenal Film Handler Posts: 1869 From: West Milford, NJ, USA Registered: Jan 2001 posted 10-10-2014 10:20 AM                     While of course mag stereo tracks are more sensitive to bad storage and mis-handling than optical tracks, I have seen a quite lot of mag stereo film from the 1950's and '60s that play flawlessly. The most common problem I have found is the tracks have been partially erased do to someone not cleaning and degaussing the reader heads at some point in the past. At this point, I have found that most archives and collectors who keep and run mag know what they are doing. There is a belief among some collectors that mag prints tend to develop vinegar syndrome faster than non-mag prints, but I don't subscribe to that theory.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 10-10-2014 10:34 AM                        Mitchel, I agree. I have many mag prints from the late 50s and 60s where there is not a hint off vinegar or track deterioration. But color loss, that's another story, unless of course it's IBTech. I think that hurts the most -- when you have a print in pristine condition (leaders never spliced) and where the mag sound plays beautifully but the color has gone. Nothing is more painful that to play a picture like 2001, for example, and to feel Also Sprach Zarathustra rattling you bones but to see a field of stars against pink of outer space.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 10-10-2014 11:23 AM                        My worry here was not with the integrity of an older mag track per see - as has been pointed out, you can get them from as far back as the '60s that are still in great shape. It was with the combination of acetate shrinkage and 35mm "Fox hole" perforations, because they are so tiny and thus the margin of tolerance for shrinkage without the sprockets causing perf damage is going to be that much smaller than with a 70mm print. I haven't seen a Fox hole print projected since the early '00s. If one has been in a cool and dry vault for most its life, then its theoretically possible that it would still be OK to project, but for a print that's been stored at anything close to room temperature and humidity since, say, the late '70s (which I would guess is the last time they were made on any significant scale), I'd have thought that it would be too far shrunk to risk showing.  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 05-03-2015 07:13 PM                        The New Beverly Cinema is going to screen a 35mm 4-track roadshow print of "The Sand Pebbles" 27-30 May. They emphasize "roadshow" since the print has an extra 10-minutes running time. I wonder if the print is a mag/op or mag-only - would love to see some 2.55:1 AR CinemaScope on a theater screen!  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 05-03-2015 09:50 PM                     And just what color would it be? I doubt it would be 2:55:1...most of those are in the 1953-1954 era. Where there IB prints of this title? If so, are they showing one? Also of curiosity...any shrinkage that could prove challenging to projection of 35-mag prints. Those foxholes don't provide a lot of leeway.  |  IP: Logged Mitchell Dvoskin Phenomenal Film Handler Posts: 1869 From: West Milford, NJ, USA Registered: Jan 2001 posted 05-04-2015 08:45 AM                     > The New Beverly Cinema is going to screen a 35mm 4-track roadshow print of "The Sand Pebbles" 27-30 May. Fox struck a few brand new 35mm prints of The Sand Pebbles about 10 years ago of the roadshow version, with an optical Dolby Stereo track. I don't remember if these prints had a digital track, but I would suspect so. If the New Beverly is not specifying mag stereo, I suspect that it is one of those 4 track analog Dolby Stereo print.  |  IP: Logged

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