This is topic DTS and 70mm in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
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Posted by Miguel Angel Martorell (Member # 1110) on 08-21-2002, 08:08 PM:
Iīm excited with the possibility of watching my first 70 mm projection if the spanish exhibitors decided to show Apocalypse Now Redux and I have a couple of doubts:1) I heard that the 70 mm print has DTS sound but does it have an analogic Dolby SR track īcause I donīt think it has magnetic tracks.
2) This is a question for any format. Is the timecode of DTS the same for all the disks or each copy of each country is operative with the disks of his own language?
And now if you can put a photo or a link with this new 70 mm prints with DTS I would be happy.
Thanks y un saludo
Posted by Gordon McLeod (Member # 33) on 08-21-2002, 08:15 PM:
I haven't heard of any 70mm prints of Redux
The older ones were magnetic format 43
If you do run DTS it is recomended that a backup player is operating with a backup set of disks through a failsafe board DTS has
There is no analogue back up track
In 6 months of running Titanic in DTS70 we never had a default to the backup player in fact most of the time it was left turned off
Posted by Miguel Angel Martorell (Member # 1110) on 08-21-2002, 08:35 PM:
Thanks for your answer but you have dissapointed me a little īcause I thought that Redux was shown in Cannes in 70 mm and another film handler told me that his company is gonna show Redux in 70 in Madrid but I trust you and all the people here more than this guy so I think that Iīll have to wait to see a DTS70 show a few years more.
Posted by Gordon McLeod (Member # 33) on 08-21-2002, 08:44 PM:
Many times a 70 does get struck for Europe and never shows up here across the pond let us know if it is in 70
Posted by Dick Vaughan (Member # 540) on 08-22-2002, 03:06 AM:
AFAIK there were no 70mm prints of Redux in Europe . If there were my sticky little fingers would have had hold of it by now!
Posted by Michael Schaffer (Member # 1204) on 08-22-2002, 04:50 AM:
To answer your second question: The timecode on the print contains a serial number which is unique for each film title but the same for different language versions of the same movie. When the Timecode is read, the dts processor checks if it matches the serial number on the disc. So usually you can play one print in different language versions if you have the corresponding discs. I have played English discs with German release prints a number of times and it worked very well.
In some rare cases it didn`t. For instance, the German release print of "Hannibal" had an additional logo inserted at the beginning of the movie and the people who prepared the German print had the Timecode start at that logo. So if you played it with the English discs, the sound would be offset by the length of that additional material. The offset was too great to correct it by programming a different offset on the processor.
That is a feature of dts which I adore since I hate the dubbed German versions!!!
MichaelP.S. I vaguely remember that a friend who works at a 70mm-capable theater in Berlin tried to get a 70mm print of AN Redux but the distributor told him there were none.
Posted by Karen Hultgren (Member # 395) on 08-22-2002, 11:57 AM:
Miguel,I am finding out about APOCALYPSE NOW RETUX in DTS 70mm. We did a 35mm version but I am not sure about DTS 70mm. So, stay tuned...
Yes, the alternate language (other than the original release language) discs have the same serial number.
Yes, on DTS 70mm formatted film, there is no analog backup (no mag, no optical). For backup, you can connect a second DTS system in series using our DTS 70mm failsafe boards and you can add a second reader. But for most exhibitors, they feel very comfortable with no backup because the DTS 70mm system has a very reliable playback history.
Karen at DTS
khutgren@dtsonline.com
Posted by Miguel Angel Martorell (Member # 1110) on 08-22-2002, 07:02 PM:
Thanks again to all of you. By the way Mr. Vaughan (or can I call you Dick?). If Iīm not mistaken you are involved with a kind of 70 mm film festival or something so if itīs repited, please call me.
Un saludo.
Posted by Dick Vaughan (Member # 540) on 08-23-2002, 02:43 AM:
MiguelDick is fine. Only my bank manager and the police call me Mr Vaughan 
Yes you are right . Every March as part of the Bradford Film Festival we host a Widescreen Weekend showcasing Cinerama 3 strip,70mm etc.
One of the highlights this year was the newly restored print of Patton in 70mm with DTS sound.
Karen's colleagues at DTS in the UK helped us out with this .
Next year it will be held on 21 -23 March.
keep taking a look here on Film Tech or at http://www.bradfordfilmfestival.org.uk/ for further anouncements!
Posted by Antonio Marcheselli (Member # 373) on 08-23-2002, 04:38 AM:
Miguel,There is a theater in Italy where the owner ask always for foreign prints. Then he play them with Italian DTS disks. Why this? Because UK or foreign prints are better than italian ones...
Bye
Antonio
Posted by Thomas Hauerslev (Member # 566) on 08-23-2002, 04:57 AM:
Miguel, I've got a few things about 70mm DTS on my web site and about the Wide Screen Weekend here ------------------
Cheers, Thomas
www.in70mm.com
www.dp70.com
www.70mm.dk
Posted by Karen Hultgren (Member # 395) on 08-23-2002, 11:31 AM:
Turns out that we did not do a DTS 70mm version of APOCALYPSE NOW REDUX. We did do it in 35mm.Karen at DTS
khultgren@dtsonline.com
Posted by Michael Schaffer (Member # 1204) on 08-23-2002, 11:53 AM:
Antonio,
you are soooo right. Italian prints seem to come not from a printing lab, but directly from hell.
Michael
Posted by Antonio Marcheselli (Member # 373) on 08-23-2002, 06:31 PM:
Michael,Once I projected a movie that was so perfect on the screen I wondered what has happened to the lab.
Then I noted a sticker on the cans: "Deluxe UK"...
You should see now Italian's deluxe prints...
Antonio
Posted by Michael Schaffer (Member # 1204) on 08-23-2002, 10:24 PM:
We get prints from Italian labs very often in Germany. To be fair, we get bad prints from all sorts of locations. But the ones we get from Italy are often really bad. They seem to be a little cheaper. Since Germany is a big market, and some movies open with many hundreds of prints, that price difference adds up enough for the distributors to get the prints from abroad. I guess those labs often have to work under immense time pressure. But the lack of print quality nowadays is a universal problem which has been discussed a lot on these pages.
Michael
Posted by John Pytlak (Member # 331) on 08-24-2002, 08:23 AM:
When you get a new print that you believe to have a lab problem (e.g., safelight fog, splotches from bleeding soundtrack developer, poor steadiness, processing machine scratches, poor drying, etc.), immediately request a replacement reel from the distributor. They will then follow up with the lab to address the problem and fix the cause. Remember, labs print one reel at a time, so a lab problem usually affects only one reel of a particular feature.------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion