Film-Tech Forum ARCHIVE: Wedding Planner in dye transfer?

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Posted by Jeff Joseph (Member # 511) on 01-27-2001, 05:15 PM:

There are supposedly new dye transfer prints of "The Wedding Planner" that were released Friday. Anyone know for sure if this is true? Or where any are playing in the Los Angeles area? Don't forget the "tell": green, translucent cue marks.

Jeff Joseph
SabuCat Productions

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Posted by Aaron Sisemore (Member # 145) on 01-27-2001, 08:34 PM:

>>Don't forget the "tell": green, translucent cue marks.<<

Or analog and SDDS tracks that are gray (as in B/W receiver stock) rather than blue/green/cyan or high magenta... Another (easier to notice as you are building the print) giveaway of an IB print.

Aaron

Posted by Paul Konen (Member # 41) on 01-29-2001, 08:29 AM:

Both Cinemark Legacy and Cinemark Tinseltown received Dye Transfer prints. It was indicated by the green technicolor label as opposed to the orange one.

One thing on my print, Reel 3 for about the first minute had a lot of red like it was off frame or something and then cleared itself up.

I also noticed in watching the print that I would see red dots, like a laser pointer, hitting the screen at random points.

Had to run the print of Friday like that and sure enough received complaints about the redness right after the reel change. Received new reel Friday Afternoon because I was able to call TES late Thursday afternoon.

Paul.

Posted by John Pytlak (Member # 331) on 01-29-2001, 10:24 AM:

AFAIK, colored "dots" or speckles sometimes occur in dye transfer prints when one of the three matrices gets dirty or damaged.

Was the red problem in reel 3 a fringing (misregistration) problem, or a change in the overall color? Hopefully the replacement reel was also dye transfer.

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
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Posted by Paul Konen (Member # 41) on 01-29-2001, 11:36 AM:

I guess it seemed like a misregistration. I should have one reference frame that I can bring in for you to look at.

Unfortunately, the replacement was a standard reel.

What are your comments, should I ask for a dye transfer reel or do you think that the studio is not going to pay for a reprint of that reel?

Paul.

Posted by John Pytlak (Member # 331) on 01-29-2001, 11:56 AM:

The color reproduction and tone scale of the dye transfer print are different than a normal print. So if you can, try to get a dye transfer replacement. But unless some extra replacement reels exist, it's unlikely that they will start up the machine just to make a few reels.

Posted by John Schulien (Member # 215) on 01-29-2001, 03:17 PM:

I don't understand the point of going to all the time and expense of having dye transfer matrices made, and then only running off a couple of IB prints.

Once the matrices are paid for, the release prints are supposed to be cheaper per unit. That's supposed to be one of the economic benefits of dye transfer. So, having made the matrices, why wasn't the entire production run printed in IB?

Posted by Brad Miller (Member # 2) on 01-29-2001, 05:04 PM:

I have a sneaky feeling that Technicolor only has one printer that can run dye transfer prints. Until the day comes that the process gains popularity and all prints are performed "dye transfer", theaters will have to continue to beg for one at their location.