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This topic comprises 6 pages: 1 2 3 4 5 6
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Topic: Could 35mm ever return to mainstream cinemas?
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 06-19-2018 10:02 PM
quote: Frank Angel
And aren't the KDM's tired to a specific media block/projector?
Yes, but I have never encountered a situation in which an exhibitor wants to move a show between screens, and the distributor refuses to issue another KDM, or even queries the request.
I've been to probably around a dozen breakdown calls in the last year, in which the fault couldn't be fixed that day, so the manager wanted to shuffle shows around screens to enable the movie that was to have played in the screen that was down to play in one of the surviving houses. In every case, all it took was a call to Deluxe Technicolor, and the new KDMs arrived within minutes. Likewise, when I've been replacing a media block, I have never known there to be any pushback or queries in response to a "Please issue Screen 3 KDMs for H0005476, and delete 532651 from your records" type request.
Presumably the distributors trust the theater staff to make the right decisions in situations like this, and the DRM aspect of the process is simply to ensure that they know what is happening.
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Jim Cassedy
Phenomenal Film Handler
Posts: 1661
From: San Francisco, CA
Registered: Dec 2006
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posted 07-08-2018 02:36 PM
quote: Sam D. Chavez
Sharing prints one or two reels at a time was always a thrill.
OMG Sam, I recall doing this a couple of times in the 1970's.
Once, when I was running the Streisand version of "A Star Is
Born" (1976) I was at a sold-out first run theater, & a couple
of reels of the print they sent us had serious lab issues.
(both picture & sound)
For opening night & part of the first weekend, I was sharing
a print with another theater. We had staggered our starting
times, & added a cartoon to give me some 'buffer time' but
one night I had them hand me the 'incoming' reel right as
my 'reel end alarm' went off, meaning I had appx 60-80sec
or less before the change-over. I'd already struck the carbon
arc when I heard the kid coming up the stairs, & got the film
threaded just as the motor cue hit the screen. It was close!
(I actually had messenger-guy watching for the cue mark
in case I missed it while threading)
Remember, kids, back then, there were no cell phones, so there
was no way to tell where the guy with the film was once he left
the other theater until he arrived at mine.
Afterwards I found out that the guy said he was hungry and
"got stuck behind somebody with a big order" at a Burger King
drive-through.
I don't know which irked me more- - the fact that he had stopped
on the way, or that he didn't at least bring me anything to eat. ![[Roll Eyes]](rolleyes.gif)
>and yes, management made sure there was a "no stopping" rule
between theaters for the remaining trips!
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Jack Ondracek
Film God
Posts: 2348
From: Port Orchard, WA, USA
Registered: Oct 2002
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posted 07-08-2018 04:44 PM
quote: Justin Hamaker
We easily play a kids movie in the big house during the day then swap it with the adult title at night (doing it this week with Incredibles 2 and The First Purge). Or move things around to meet demand. As long as you have the content loaded onto multiple servers, it's just a few mouse clicks to move a show from one auditorium to another. And this can be done while the show is playing, so you don't have to worry about the last minute rush to move prints.
We have enough storage to hold around 10 features plus all the trailers we'd ever need and still keep the drives below 50%. After we ingest a feature (or trailer), we copy them over to the other servers. When keys arrive, all features have them for all 3 machines we have here. That way, should we want, or need to move things around, it's as easy as moving a playlist... 30 seconds, tops.
We doubled our storage last year, but from day one, the keys have always arrived for all the machines in our booth.
Can't everybody do this, more or less?
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 07-11-2018 05:03 AM
quote:
management made sure there was a "no stopping" rule
between theaters for the remaining trips!
Our boss did better than that -- he just gave the company car, a souped up Mustang to a high school kid who fancied himself as Mario Andretti, told him he had a hug responsibility on his shoulders as our reel runner, to get the reels to us as fast as possible. He had to bring reels from our larger downtown theatre (I think was The Palace) in Bryan TX to our smaller theater in College Station TX, appropriately named The Campus Theatre, a block away from A&M campus. That kid broke every speed limit between the two towns and to his credit, was never late, until.... One night he ran past a state trouper; that night I didn't get R3 in time.
I was in a panic. It became obvious I was not going to get R3 in time. Do I stop the show and wait? Now I know I am going to get flamed for this move, but hear me out -- I decided to just make the changeover to R4. It looked PERFECT on the screen and to my surprise, it didn't even hint at bad continuity. Then 10 minutes into R4, here comes R3. Now I knew this picture inside and out -- I had already been playing it for two weeks. If you know BLOWUP, Antonioni tells the story in non-linear style, back and forth in time. I realized I could make the changeover to R3 when there was a scene in the park -- R3 starts with that same scene, different time. I wait for an appropriate moment and make the changeover from where we are in R4 to R3, it plays. Then at the end of R3, I change back to where we were in the last 10 min of R4, it finished and now changeover to R5 and we are back on track. Believe it or not, the film made just as much sense with 10 minutes out of sequence as it did when it played correctly -- the audience just had to think about it a little harder. Thing is, on the screen it looked like nothing at all was wrong; audience just chalked it up to, "Well, this is what crazy avant garde movies are like. Damn foreigners." In my defense, I was 19yrs old.
For two weeks we bicycled that print on the weekdays.
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