This is topic When was the last day 35 MM was run in your building? in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
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Posted by Cassandra Palko (Member # 5362) on 09-14-2011, 09:57 PM:
The building I work in is almost finished with 35 MM. We have a film festival at the end of the month that features many 35 MM features. But by October 3rd - the lamp houses will go dark and the platters will cease to spin...
Has anybody else out there reached this milestone?
Posted by Edward Havens (Member # 4715) on 09-14-2011, 10:56 PM:
The building I currently work in has never run film of any kind.
Posted by Frank Cox (Member # 6258) on 09-14-2011, 10:57 PM:
My last movie on film was Justin Beiber Never Say Never, and the last day was March 31 of this year. The film equipment was all dismantled and carried out on Friday, April 1.
My first digital movie was 3D Mars Needs Moms and I started playing that on April 8.
Posted by Claude S. Ayakawa (Member # 1401) on 09-14-2011, 11:53 PM:
Both Reading International, the operators of Consolidated Theatres in Hawaii and Regal are rather slow in converting their theatres to digital in Honolulu. Among the two operators, it seem Regal has converted more theatres to that format than Reaing at their Dole Cannery Theatres (18) with six but all of them so far was for 3-D exhibition. Their Pearl Highland 12 complex so far has four converted over to digital for Real D presentations. Reading's Kapolei 16 has only one and both the Millani (14) and Pearlridge (16) has two. Only the Ward 16 has more. I believe they have four. The Kahala (7), Koko Marina (8) and the Koolau (10) still has no digital screens . The Koko Marina and the Koolau has 3-D but only the 35mm film format.
-Claude
Posted by Manny Knowles (Member # 1171) on 09-15-2011, 01:37 AM:
My last 35mm film was on Monday -- "Kagemusha"
My next 35mm film will be tomorrow -- "The Story of GI Joe" and "Rejoice & Shout"
Last digital was on Tuesday -- "Drive" sneak preview
The two AMC's around here are making slow-but-steady progress. One out of 23 screens (2 sites) a year ago. The 12-plex has 6 digital screens now. Not sure about the other one -- bad presentations, so I avoid going there.
Posted by James Westbrook (Member # 3690) on 09-15-2011, 02:13 AM:
Wednesday August the 10th.
Rise of the Planet of the Apes.
Posted by Mike Blakesley (Member # 26) on 09-15-2011, 02:39 AM:
Our last film was the Russell Crowe show, "Robin Hood," played on June 16 of 2010.
We were closed Thursday, June 17 but we are closed about 80% of Thursdays so we didn't miss any scheduled shows.
Our first digital show was on June 18, Toy Story 3 in 3-D. Due to a few unforeseen difficulties (like, they forgot to send us a lens), the equipment was going through testing, tweaking and etc. right up until about 6:00 pm the night of the first show.
Posted by Aaron Garman (Member # 1653) on 09-15-2011, 03:02 AM:
The last film I ever remember running for a paying audience was Indiana Jones and the Kingdom of the Crystal Skull in 2008.
I inspected a print of Schindler's List, sometime in the fall of that year too, but I didn't run the changeovers.
I'm having some serious withdrawal too. Can someone please find me a Simplex and DTS reader?
AJG
Posted by Ian Parfrey (Member # 5122) on 09-15-2011, 04:17 AM:
We still run 35mm and will continue to do so as long as prints- old and new- will be available. Any pretence of removing the Vic 8 will be alleviated by me buying the machine and doing all maintenance and upgrades necessary to keep her running sweet as.
The joys of arthouse!
Posted by Richard May (Member # 2627) on 09-15-2011, 06:35 AM:
Dam Ian. You beat me to it. We also will be running film as long as we can get prints. We were told that that won't be a problem for a very long time. We will not be converting to video at any point and our customers seem very happy about that.
Posted by Justin Hamaker (Member # 2165) on 09-15-2011, 07:15 AM:
The Help on 9/13/2011. 9/15/2011 will be the first day all 5 screens will run in digital.
Posted by Chris Slycord (Member # 4239) on 09-15-2011, 08:47 AM:
Still running film in 21 out of the 30 screens at my location. Obviously, it's a matter of time but I highly doubt they'll be able to get all or most of them changed out by December when I'm graduated and moving on from this business anyway. On the other hand, I hadn't expected the place I was working at for the last couple years to switch to all-digital when they did and let me go (but it was a much smaller location so significantly easier and cheaper to switch).
Posted by Bobby Henderson (Member # 840) on 09-15-2011, 09:45 AM:
I'm trying to remember the last time our town's Carmike location ran something in 35mm. Perhaps sometime last year? Screens #5 and #7 are still set up to run 35mm (alongside digital).
Posted by Martin McCaffery (Member # 37) on 09-15-2011, 09:56 AM:
Still all 35mm, with the some DVD/BluRay. Still have 16mm if needed.
We expect film in the arthouse world to last as long or longer than it will take to raise the money to redo our building and booths. At this point I plan to have mixed booths.
I guess technicolor expects film to last, as I got a call from a sales person pitching their 3D Solution a couple of days ago.
Posted by Chris Slycord (Member # 4239) on 09-15-2011, 12:05 PM:
I'd take that as Technicolor hoping you'll pay for their system rather than them thinking film will last. ![[Smile]](smile.gif)
Posted by Mike Blakesley (Member # 26) on 09-16-2011, 02:17 AM:
Yeah, they won't stop "selling" that 3D solution until there are literally no more prints being made.
quote: Richard May
We will not be converting to video at any point and our customers seem very happy about that.
Why would the customers care?
Outside of an article in the newspaper when we made the switch, we haven't promoted our digital projection at all. To me that just tells the public, "Our picture was crappy before, you should come and check it out now that we've eliminated all the scratches and dirt and such." I just didn't see the need for implying that our projection had sucked.
Posted by Monte L Fullmer (Member # 2797) on 09-16-2011, 03:11 AM:
That's true: you just don't see any form of digital "splash" advertising in the newspaper slicks as you did when 70MM came into town.
Speaking which: 3 Strip Cinerama presentations hits Seattle very soon. NOW, this is worth spending 11 bucks for!
Posted by Steven J Hart (Member # 2340) on 09-16-2011, 07:29 AM:
September 5 (Rise of the Planet of the Apes) was our last scheduled 35 mm booking. Today we start with digital (Stupid Crazy Love). Our 35 MM equipment remains in place...
Steve
Posted by Justin Hamaker (Member # 2165) on 09-16-2011, 07:48 PM:
Mike, I kind of agree with that point. I've already felt that when talking to a few customers about digital. On the other hand, I think the digital picture is far superior to even our best 35mm picture, so I'm ok with promoting the improved picture quality.
I know the general feeling around Film-Tech is that 35mm done right is better than digital. I have to disagree. Maybe in the most perfect conditions with a pristine 35mm print, but every digital presentation I've seen in the last 2-3 years is far superior to even the best 35mm presentations I have ever seen. And that's not even getting into the issue of what 35mm typically looks like 3-4 weeks out.
Posted by Michael Brown (Member # 890) on 09-17-2011, 11:36 AM:
13 screen multiplex, currently 4 dig, 9 film.
Our final install week is week beginning 10th October, 2 will be done each day mon-thurs, with just the last one done on the friday morning. (so all 13 running digitally by friday evening)
We will be left with one screen that is dual digital/film.
And we already have a 35mm print book into the screen in November sometime for a halloween show of something.
Posted by Bernie Anderson Jr (Member # 410) on 09-17-2011, 03:15 PM:
July 25, 2010 was our last day, and the last day of sanity. I brought in a print of Majestic to play the last show of film.
Now instead of simplexes I have Sony projectors. Ive never had so many dumb issues before with a projector, i.e. in the middle of a show, the projector will loose marriage between the picture head and server and STOP! for no reason at all. Plus the optical block needs to be cleaned all the time, I'm constantly changing bulbs and with their 3D lens, which account for half my location, I get 7 fl on screen! Its even to the point that they changed out one Sony in the big theatre because of the screen size. The picture would be too dark otherwise. And now, I have no projectionist anymore so its up to the manager to fix a show interuption.
Posted by Monte L Fullmer (Member # 2797) on 09-18-2011, 12:43 AM:
To cure some of your SONY issues:
Do a complete system shutdown through the menu so the UPS can shut the system down. Wait a good minute, then hit the button on the status cylinder to reboot the unit. This will clear out any old memory and be fresh again ... do this on a weekly basis.
If you get an "exhaust status" warning on the status display on the rear of the unit and the tail lights are flashing yellow on the status cylinder: flip the breaker above the USB port off, wait a few seconds, then turn the unit back on. This will reset this warning.
Keep the percentage on the Media Block below 70% and DON't injest while the media block is playing a show.
Make sure that you got a strong, 600 CFM plus, exhaust flow from the exhaust fan.
You have to know how to work with these units since they are a total different animal completely...they remind me of an Apple Computer - so proprietary that it's miserable.
Posted by Richard May (Member # 2627) on 09-18-2011, 12:57 PM:
Mike. A lot of our customers do not want to watch a movie on video. They want film.
Posted by Paul H. Rayton (Member # 1817) on 09-18-2011, 03:58 PM:
While some customers may claim to "not want to watch a movie on video", the facts are that 1) DCI-compliant projection is significantly better than mere "video", with, in round numbers, 4X the data rate of even Blu-ray discs; 2) younger folks -- who are a significant part of the moviegoing audiences these days -- don't really give a rat's patootie "how" the picture is projected, plus they were raised watching MTV and videos, they barely know what "film" is, and they probably prefer electronic imaging because that's what they are accustomed to; 3) with the drop in print and film use in general, Eastman Kodak is, soon enough, not going to be able to afford to manufacture film at affordable prices, so prints will get to be mighty expensive; and 4) in short order, distributors will not even have film prints for you, so you'll be either running something electronically ... or out of business.
So, other than that, your customers can "prefer" to watch film all they want, but (with some quite rare exceptions) they'll have to go in to mid-city NYC, at MOMA or AMMI, to see it projected that way! It's a sad situation for traditionalists to accept, but it's comin' at you like an express train comin' down the track, and you better hope you are not tied down on to those tracks! Just in the last week, even the Arclight Hollywood went 100% digital, and there will be more conversions next week, and the week after that, and the week after that. Can't you hear the drumbeat?
It's boiling down now to an example of a corollary of Gresham's Law, with what's a cheaper technology driving out a more expensive technology. There can be plenty of discussion about whether digital is truly less expensive at the exhibition end of things -- but to the studios, who make those movies and who now do NOT have to purchase all those prints, and the concomitant shipping -- yes, it's less expensive. By far. Remember the story of the sign seen in the repair shop? "Fast, Cheap, Good -- choose any two". The story may be apocryphal, but the situation is seriously comparable.
Posted by Steve Guttag (Member # 268) on 09-18-2011, 04:26 PM:
Paul,
While I do not disagree with you per-say, I do see a point next year when the VPFs dry up when a significant number of screens will remain film. and the speed at which the conversion progresses will come to a grinding hault...kind of like your train derailing...it will be then up to the studios to play a good game of "chicken" and then either continue prints or merely cut that 40% of the US market off because they only represent something like 20% of the gross.
One thing I'm seeing is that with older exhibitors (theatre operators in their 60s and 70s) figuring that when they are forced out...so be it...they are not going to sign a 10-year deal when, in all likelihood, they will not be there to finish it for one reason or another.
It will also be interesting to see what happens when folks have to start really paying for repairs...this stuff is not only expensive to buy, it is expensive to keep running, after the warranty period expires. Also, there will not be any VPF deals for the new-builds in 2013 or replacement for the stuff that was bought in the last 10-years.
However, I do think that the places that will offer film will continue to diminish...but add the AFI/Silver (or Egyptian) to your list of film places.
-Steve
Posted by Richard May (Member # 2627) on 09-18-2011, 06:32 PM:
With the majority of folks coming to our theater being older people, they do know the difference. DCI compliant crap is all video to me. As far as I'm concerned, only film belongs in theaters. As long as we can get prints, which I have been told will be a long time, we will run film. We don't run mainstream movies and don't have to worry about having prints come from big studios. If and when we don't get prints, we will deal with it then.
Posted by Justin Hamaker (Member # 2165) on 09-18-2011, 07:16 PM:
Richard: I contend that if you put DCI compliant digital picture on you screen without saying anything to the public, 99% of your audience will not know they are not watching film.
Posted by Martin McCaffery (Member # 37) on 09-18-2011, 08:39 PM:
Probably true, but I'm guessing 90% of the general public thinks we run BluRays;>
Posted by Mike Blakesley (Member # 26) on 09-18-2011, 11:29 PM:
quote: Richard May
With the majority of folks coming to our theater being older people, they do know the difference.
So they know the difference, but what's their complaint about digital? It's not jumpy enough? They miss the scratches? The splices? They want to count the changeover cues? (OK I'll give you that one...I miss them!)
The first time I ever watched a digital movie was at some large city theatre, not sure what city. I knew it was digital going in. I was HOPING I would hate it, because at the time I was dreading the conversion, wondering how we would ever afford it, etc. (That was when conversions were like $125,000 per screen without even thinking about 3-D.)
Well...the movie started and I could not find anything wrong. The picture was sharp, clear, steady and in focus from corner to corner. I didn't see any pixelation. After about 2 minutes of trying to find something wrong, I forgot about my internal debate. I enjoyed the movie and forgot I wasn't watching it on film.
Posted by Monte L Fullmer (Member # 2797) on 09-19-2011, 01:18 AM:
quote:
I do see a point next year when the VPFs dry up when a significant number of screens will remain film. and the speed at which the conversion progresses will come to a grinding halt...
So, why the big push for digital conversion if the bottom gonna fall out of the VPF thing, and how will the VPF thing dry up (if this one can be closely answered..)?
Are the converted cinemas gonna take it in the end real bad?
"Boy", all of a sudden, all of those 35mm machines that were dumped off at STRONG suddenly may have the return value on them after all for resale when these digital unit repair bills really start to pile up and the VPF money dries up to keep them fixed. Then, those DCI units will be heading to STRONG for the recyle bin after the 10 year warranty expires.
quote: Richard May
they do know the difference
have you asked them of what the differences were?
(I know that I posted this one before, but have to add this one in in this topic...)
Like my wife went to see one of our digital presentations, and after the show, I asked her how she liked the movie in which she did confirm of that she did like it. Then, I told her that it was digital presentation..
.."It was?", she said.
The next day, her and ner neice came to a 35mm film, asked her the same question with same reply..and told her different that this was a film presentaion.....
..."It was?", she said.
Posted by Justin Hamaker (Member # 2165) on 09-19-2011, 03:20 AM:
My understanding is the Studios have September 30, 2011 as their drop dead date for getting VPFs. I don't know all the details and whether that means you must be on-line with digital, have your order place and installation scheduled, or just have contracts signed.
But my understanding is anyone not locked into a VPF deal on 9/30/11 will be left on their own.
Posted by Steve Guttag (Member # 268) on 09-19-2011, 06:05 AM:
Justin...you are off by a year...it is 2012...the VPF rate merely drops next month.
-Steve
Posted by Brad Miller (Member # 2) on 09-19-2011, 10:39 AM:
Monte, anyone not converted by Sept 2012 will be ON THEIR OWN.
The studios will NOT continue to manufacture 35mm prints just because some people didn't take advantage of the VPF deal. Those theaters will be on their own to find the money, or will go out of business...end of story.
Posted by Louis Bornwasser (Member # 3063) on 09-19-2011, 12:27 PM:
Not one studio has announced anything about the end of film. End of vpf, but not film. (USA only) Louis
Posted by Mike Blakesley (Member # 26) on 09-19-2011, 12:43 PM:
quote: Richard May
A lot of our customers do not want to watch a movie on video.
Richard - have you ever used anything but the word "video" when discussing this with customers? If you asked people, 'What do you think about digital cinema?" they might have a more favorable reaction.
quote: Louis Bornwasser
Not one studio has announced anything about the end of film.
Well there's no need for them to make an announcement because they don't know an exact date. They can make that decision on a moment's notice, once all the big-boys are converted.
Besides, studios are famous for not announcing things. Remember the VOD fiasco? News of that didn't come from the studios, it came from DirecTV.
Posted by Martin McCaffery (Member # 37) on 09-19-2011, 01:00 PM:
So, Brad, when does the name of this site change to Digital-Tech ![[Wink]](wink.gif)
Posted by Richard May (Member # 2627) on 09-19-2011, 02:07 PM:
Mike, I have used the words digital cinema. They know what it is. There still are A LOT of people that do not like it, myself being one of them. Yes, there will come a time when there will not be a choice. Until that time comes, we will run film.
Posted by Bobby Henderson (Member # 840) on 09-19-2011, 06:21 PM:
Some people may think film is being used in the booth despite the digital equipment. However, I've heard people assume all sorts of other mediums like DVDs or video tape were being used when the booth was still projecting movies from 35mm film prints. This is despite all the visual clues that film was being used.
Posted by Victor Liorentas (Member # 5272) on 09-19-2011, 06:59 PM:
Yeah been getting that for years.People are shocked when I give them a tour of the film infested Booth!
Posted by Monte L Fullmer (Member # 2797) on 09-19-2011, 07:43 PM:
...or we're not using 16mm, but 35mm!
what an insane industry...
Posted by Michael Brown (Member # 890) on 10-06-2011, 07:10 PM:
Our TMS went live 2 days ago (although its only running 4 out of 13 screens at the moment - next friday all 13 will be on.
...and tomorrow our fist ever bollywood in digital. ![[Big Grin]](biggrin.gif)
Posted by Jonathan Goeldner (Member # 4854) on 10-10-2011, 11:56 PM:
quote: Richard May
Mike, I have used the words digital cinema. They know what it is. There still are A LOT of people that do not like it, myself being one of them. Yes, there will come a time when there will not be a choice. Until that time comes, we will run film.
that also seems to be the implied attitude of Landmark Theaters.
Posted by Bobby Henderson (Member # 840) on 10-11-2011, 11:53 AM:
quote: Bobby Henderson
I'm trying to remember the last time our town's Carmike location ran something in 35mm.
Answer: Inglorious Basterds was the last movie run in 35mm at our Carmike location.
Posted by Mark Hajducki (Member # 1732) on 10-11-2011, 01:02 PM:
quote: Bobby Henderson
Inglorious Basterds was the last movie run in 35mm at our Carmike location.
Seems an appropriate title to have, with scenes in a projection room and film being used in the plot.
The cinema is, however, destroyed by the end of the film.
Posted by Frank Cox (Member # 6258) on 10-11-2011, 02:20 PM:
I thought that was such a great looking theatre. I was disappointed to find out that it was constructed on a sound stage and it's not a real theatre.
Posted by Mark Gulbrandsen (Member # 72) on 10-11-2011, 04:39 PM:
I have found that most older folks actually comment on how good the digital cinema pictures actually are. And they do this on their own and it is opbvious they can tell because the make the comment. Those stubborn enough not to convert may loose some of their customers to competitors that do have digital.
Mark
Posted by Victor Liorentas (Member # 5272) on 10-11-2011, 05:06 PM:
My film presentation eats most digital presentations for a snack!
Anyone who thinks 2k digital is good at hiding the pathetic incompetence bad booth people have displayed for years with film is correct but wake me up when resolution and frame rates increase because current digital is less than my home theater.
Posted by Mark Gulbrandsen (Member # 72) on 10-11-2011, 08:15 PM:
So Victor,
No matter how well you project film these days today's prints are absolutely inferior in quality. Don't waste your efforts.
Mark
Posted by Jonathan Goeldner (Member # 4854) on 10-11-2011, 08:54 PM:
I actually got a response from someone over at the Landmark chain and they said that the digital rollout for the DC area will commence in 2012 - unfortunantely not in time for the release of Wim Wender's 3D dance film 'Pina' ![[Frown]](frown.gif)
question though for theaters that host film festivals - do the international and independent distributors actually favor and make their "films" available in harrdive form, or is 35mm still preferred?
Posted by Victor Liorentas (Member # 5272) on 10-11-2011, 09:15 PM:
My IB Tech classic prints look great and believe it or not smaller foreign films are looking great in 35mm!
I am starting to see better looking prints like The Debt and Sarah's Key.
I even think some 2k crap looks just as good on film as digital.
Also keep in mind I don't have a silver screen messing things up.
Some of you fine folks like Tony,Mark,Steve,Gord,Louis,Brad and others helped me get my alignment so good (thank you)I enjoy working hard to keep film alive along side digital at theaters like mine.
What the hell else would I do?
Posted by Jonathan Goeldner (Member # 4854) on 10-12-2011, 07:51 PM:
quote: Victor Liorentas
My IB Tech classic prints look great and believe it or not smaller foreign films are looking great in 35mm!
I am starting to see better looking prints like The Debt and Sarah's Key.
I even think some 2k crap looks just as good on film as digital.
Also keep in mind I don't have a silver screen messing things up.
Some of you fine folks like Tony,Mark,Steve,Gord,Louis,Brad and others helped me get my alignment so good (thank you)I enjoy working hard to keep film alive along side digital at theaters like mine.
What the hell else would I do?
I would have loved to have seen a digital presentation of 'The Debt' not that the 35mm print I saw looked bad, but the cinematography had a very chiascuro style - the beach scenes looked nearly bleached out with high white levels.
Posted by David Stone (Member # 4846) on 10-12-2011, 10:31 PM:
Hi Everyone,
We are a single screen and have not run 35mm since April 2010.
I don't regret it for a minute, no scratches, no joins. WE have not missed 1 session screening digital owing to any fault,
Cheers,
David
Posted by Bobby Henderson (Member # 840) on 10-14-2011, 03:53 PM:
quote: Mark Gulbrandsen
I have found that most older folks actually comment on how good the digital cinema pictures actually are.
Not sure that's an excellent bragging point. How many "older folks" have 20/20 eyesight and optimal color perception in their eyesight?
Posted by Manny Knowles (Member # 1171) on 10-14-2011, 11:03 PM:
We're running 35mm right now: Cafe Flesh. Rated X.
Posted by Travis Cape (Member # 466) on 10-14-2011, 11:08 PM:
If you're going to run porn 35mm is the only way!
Posted by Ian Parfrey (Member # 5122) on 10-15-2011, 12:04 AM:
^^^ Oh, I dunno about that. The Stewadesses in 70mm 3D wasn't too bad
Posted by Manny Knowles (Member # 1171) on 10-15-2011, 12:14 AM:
We'll be running "The Stewardesses" later this year, although it's still being decided which version to run. It won't be 70 though.
Posted by Chris Mosel (Member # 1451) on 10-16-2011, 09:32 PM:
May 12, 2011
Posted by Jonathan Goeldner (Member # 4854) on 10-21-2011, 09:51 PM:
I may be a broken record on this subject but I find it interesting that some theaters that can playback both 35mm and digital content, favor and book the former
here in the DC area this would include the AFI Silver and the National Geographic auditorium - which hosts the annual 'Global Glimpses' series (the Academy Award foreign film nominations) they have a Sony 4K system, but it's 'film' that's being projected.
Posted by Elise Brandt (Member # 5552) on 10-22-2011, 01:08 AM:
The last 35mm run was... September 30th, 2010. I'm pretty sure we "opened fully digital" on October 1st. Three screens.
Posted by Ian Parfrey (Member # 5122) on 10-22-2011, 05:31 AM:
quote: Jonathan Goeldner
I may be a broken record on this subject but I find it interesting that some theaters that can playback both 35mm and digital content, favor and book the former
Could be any number of reasons, but most likely one of these -:
Film has built in legacy.
Film prints may be more readily available.
Location policy may be to exhibit shows in their original release format.
...or they just hate digital artefacts and/or Sony 4K systems.
In my opinion, they should be applauded for going to the extra work in screening film. More power to them.
Posted by Mark Kochanski (Member # 6554) on 10-22-2011, 12:11 PM:
I have 2 screens showing 35mm prints only, as long as we can get the prints the 2 Vic 8's will keep on running them. Unfortunatlly the film will run out before the projectors give up.
Posted by Paul Linfesty (Member # 214) on 10-22-2011, 01:02 PM:
quote: Jonathan Goeldner
I may be a broken record on this subject but I find it interesting that some theaters that can playback both 35mm and digital content, favor and book the former
yeah, the Landmark at the Westside Pavilion in Los Angeles opened with Sony 4k's in each (or almost all) auditoriums severeal years ago, and yet they still show almost everything on film. It seems the onlyu time they don't is when they have a movie on two screens and so offer one in 35mm and one in digital. Their Nuart single screen also has Sony 4K but almost always runs film.
Posted by Aaron Burgess (Member # 3875) on 11-25-2011, 03:31 AM:
Still running film..
Posted by Ian Parfrey (Member # 5122) on 11-25-2011, 04:13 AM:
.... still keeping Perforated Plastic alive here too.
Posted by Joris Springer (Member # 4175) on 11-25-2011, 06:05 AM:
December 19th is the conversion at the multiplex where I work supposed to be complete, on 21st of December will probably leave the last print the building. Unless the booking will keep the print running while the movie keeps on attracting visitors but I highly doubt that since most screens will also lose their 35mm projector.
Posted by Peter Howard (Member # 3491) on 12-02-2011, 10:53 PM:
We've got 5 screens and 2 are digital & 3D equipped, but we've only done that for the occasional time when there's actually a title in 3D that's worth playing in 3D.... around 90% of the time we're still using the 35mm in those auditoriums and have no intention of changing that in the near future.
We're completely tooled up and ready to go digital on a few weeks notice when 'D-Day' actually does roll around. We have the GDC servers boxed up in a corner ready to go, have the digital projector bases, the cards for the CP500's, and much of the wiring is complete. But until the time comes when a distributor actually cans 35mm - and according to all of them that's still at least 18 months away - we'll continue to play 35mm unless I have a particular reason to play something in digital.
Why? 35mm's cheaper to run, by far. Period. 4000+ hrs out of a UXL25SC versus 700 hours from a digital bulb that costs twice as much. We actually did the math on this and it was about 4 times more expensive per hour to run the NEC NC2000C versus the Simplex Millenium. And labor savings are massively overstated given our other screens are still solely 35mm and thus i've still got to have a projectionist onsite.... at the moment when we've got a mix of formats, digital doesnt make much sense. I forsee than even when full digital in a few years we're still going to need a guy upstairs overseeing everything because a booth isnt just a digital projector. ![[Roll Eyes]](rolleyes.gif)
Cant see us going full digital until the distributors force us to.
quote: Jonathan Goeldner
may be a broken record on this subject but I find it interesting that some theaters that can playback both 35mm and digital content, favor and book the former
Cost per screening? 3D's not getting the bums on seats, and 2K flat isnt enough of a marketing hook to justify the expense of digital projection over 35mm. Plus I cant move the 'film' to another screen when the audience starts to die off in my digitally-equipped large auditoriums.
Posted by Mike Blakesley (Member # 26) on 12-05-2011, 02:50 PM:
The Montana Theatre in Miles City's last film day will be this Thursday, Dec. 8, according to our film booker (who also books for them -- we traded prints with them a lot in our film days and will probably do so again now.)
Posted by Ian Parfrey (Member # 5122) on 12-06-2011, 03:43 AM:
quote: Peter Howard
we'll continue to play 35mm unless I have a particular reason to play something in digital.
Why? 35mm's cheaper to run, by far. Period. 4000+ hrs out of a UXL25SC versus 700 hours from a digital bulb that costs twice as much. We actually did the math on this and it was about 4 times more expensive per hour to run the NEC NC2000C versus the Simplex Millenium. And labor savings are massively overstated given our other screens are still solely 35mm and thus i've still got to have a projectionist onsite....
Peter, I'm not going to quote all the relevant parts of your post, but you are well on the mark here.
The cost per hour comparison is so biased in favour of 35mm and yet the industry deems this a necessary change.
What can be expected from this is the almost certain demise of the smaller locations and rural cinemas, and eventually the majors.
I may be howled down for this, but as I have said all along - the digital conversions are a step closer to removing the exhibitor from the studios revenue stream.
Why? Because getting the patron used to derezzed images in comparison to film will make the cinema going experience that much closer to the home theatre experience. As the release window closes and VOD takes hold, it will be 'see ya later' to what the studios see as an unfair drain on their profits.
Tick tick tick.
Posted by Richard May (Member # 2627) on 12-06-2011, 07:42 AM:
I could not have said it better, Ian.
Posted by Jim Cassedy (Member # 4115) on 12-06-2011, 10:21 AM:
I really think the name of this thread should be changed to:
"When is the last day you expect to still have a job?"
Seriously.
How much longer do you think 'the bean counters' will be
willing to pay your salary once they realize that some 16
year old pimple-faced pencil necked geek kid working for
minimum wage (or a very talented monkey) can do your job
lot cheaper than you're willing to work for?
I've said from the very begining that this 'push-to digital
is primarily being motivated by digital equpment manufacturers
and vendors and fueled by a certain amount of coroprate greed
by the big theater chains and the studios/distributors.
Their ultimate goal is to cut costs and at the same time eliminate competition by smaller business operators.
Don't tell me how much "better" digital is. As has been
pointed out in earlier posts, 99.9% of the public is
clueless about if a show originates from digital or film.
For one thing, younger audiences, which have been victims of
the 'digital dumbing down' of America, are now quite used to
watching low res, compressed, murky-jerky images on their
i-phones anyway. They've become accustomed to lousy images.
The 'digital soloution' is a resposnse to a problem that just
doesn't exist. It's not in any way a 'market driven' event.
I can't EVER recall a customer asking "Gee, when are you
guys going to put in a digital system."
I RARELY get complaints about (film) picture or sound
issues unless something is REALLY out of whack.
(Which of course, only happens on my night off, since
my relief projectionst is a bit unclear on the concepts
of focusing and framing)and I hear about it the next day.
Yet hardly a week goes by that someone dosn't complain about
the preceived high cost of concessions or admissions, or the
amount of butter or lack of it on the popcorn, or that the
movie they just sat through sucked because 'there's no
more creativity in Hollywood" (digital won't solve that!)
or mabye they think it's a little too hot or two cold in one
of the auditoriums- - but nobody givesacrap about how the
picture on the screen gets there.
At the risk of repeating myself (which I will) -
The 'digital' people are in this only to line their own
pockets and put the last of the people who have some
sense of presentation skills out of work. Those who remain,
for the most part, will wind up making minimum wage, or not
much above that. It's already happened when platters were
introduced in the 1970's and it will happen again.
Take a look at almost any advertisment for the digital presentation systems. Alomst all of them say, in one way or
another, that one of the 'benefits' of installing their
equipment is that it will eliminate the need for any skilled
(ie: well paid) labor in the booth. (and in some cases it
will even eliminate the "booth" as we know it, entirely!)
I'm telling ya- there ought to be a big anti-trust or
conspiracy lawsuit to stop this assualt on the small
theater owners of America. If this were any other
buisness, there would be lawsuits galore by now.
Instead f wasting time "occupying" Wall Street or Oakland,
we should all be marching down & occupying Hollywood,or at
least the corporate offices of the major distributors.
This nonsense has got to stop.
Posted by Edward Havens (Member # 4715) on 12-06-2011, 10:51 AM:
When I was managing the Beverly Center during its final year of operation, I had a number of customers ask me if and when we were getting digital projection, and we saw a sharp increase in business when we did install our first digital projector... even though we were essentially a second run house at the time. Seeing the response from customers when we presented Avatar in 3D at lower-than-market ticket prices, when everyone else in town had moved on to Alice in Wonderland, really showed me the value of digital for second run. Lower ticket prices no longer had to mean lower quality presentations, and it was such a blessing not have to carefully store a bunch of 35mm prints when we ran the After Dark Horrorfest. All eight movies were able to fit on the server with a good 20% space to spare.
Yes, you can lament the loss of film all your want. And yes, I know the loss of film means a loss of jobs to many on this forum. And yes, that is a sad thing to me. But here is my question... so many of you have been aware for years this transition was going to be happening. Why allow yourselves to become obsolete? Why not get the training to be able to transition from a 35mm tech master to a digital tech master? I don't know what Christie and Barco and Dolby pay their house techs, but it certainly has to be better than no paycheck at all, and I would love to have techs with the passion of many on this board in my building should I ever have an issue.
I applaude Brad and the others who saw the writing on the wall and got proactive in making sure they were ahead of the curve. My wife and I plan on opening our own theatre in my old hometown somewhere down the line, and I can assure Brad once that happens, I am going to call on him for a Film-Tech Digital Cinema System. I just hope more studios see the value of converting their repertory titles to DCP the way Sony has, as I hope Sony ramps up their digitizing of their back catalog.
Posted by Bobby Henderson (Member # 840) on 12-06-2011, 11:09 AM:
One problem is there's only so many service tech jobs to be had. And I fully expect cuts to be made in that area once the entire conversion is complete. Look how badly so many theater chains maintained their theaters when they were running film. They'll start working in more and more slack with the rules on how d-cinema is supposed to be handled. Not every theater worker would want to shift to a service tech job anyway. Some people enjoy being on the road constantly. Many others do not.
One of the ultimate goals with the push to go digital is have a booth that is fully automated and controlled off site. Just staff the theater with barely enough people to tear tickets and pop popcorn. Maybe they'll even make one theater's general manager be the GM of multiple theaters and drive back and forth between locations, working crazy hours until he goes insane.
The entire point of this exercise is cutting costs. Eliminate as many jobs out of payroll as possible. I'm sure the senior management of most theater chains love that idea. Eliminate the film prints to save money on their production and shipping. Distributors love that idea.
The big push to automation hasn't happened yet, but I expect it to take place soon. It's a bit like all those radio stations that have no disc jockeys.
Posted by Frank Cox (Member # 6258) on 12-06-2011, 01:10 PM:
quote: Jim Cassedy
I can't EVER recall a customer asking "Gee, when are you
guys going to put in a digital system."
Nobody asked me about it because nobody around here had ever heard of it before I got digital installed here, but now that I have it folks are apparently asking the "next theatre down the road" (which is about 4x larger than mine) when they will be installing digital cinema there. There are several people who drive from that town to watch movies here, too. (Mind you, they did that before I had the digital, so maybe that hasn't changed much.)
quote:
Yet hardly a week goes by that someone dosn't complain about the preceived high cost of concessions or admissions,
I get just the opposite here -- people (I assume visiting or moving here from elsewhere) occasionally ask "How can you survive with the prices that you charge here?" I had one guy a few months back come in and say, "Frank, I have a new appreciation for you. I took my kids to a theatre when we were travelling somewhere else and the prices just bowled me over."
In all of the time that I've had this theatre I think I have heard maybe a grand total of three people say that the prices are too high, but for them I'm sure that any price greater than "free of charge" would be too much.
Posted by Ramon Lamarca Marques (Member # 3621) on 12-06-2011, 04:22 PM:
quote: Edward Havens
I just hope more studios see the value of converting their repertory titles to DCP the way Sony has, as I hope Sony ramps up their digitizing of their back catalog.
Regarding repertoire, this is a tricky area. There are many people like myself who only like to see those films on film. It is going to be an increasingly rarer activity to see classic films on film but I personally find it a very pleasurable experience. Yesterday I saw a nitrate dye transfer print of Cobra Woman. It is one of the worst films I have ever seen but to see the beauty of a nitrate dye transfer prints is worth the price of admission. The black levels were amazing, and the colours had (obviously) nothing electronic about them. I left the cinema thinking that I will not see such amazing black levels until the next dye transfer print. Certainly DLP is nowhere near those levels. If anything, I assume repertoire screenings will lose audiences by phasing out film since it will not bring in more customers but many people like myself will not go if film is not shown (I refer to classic titles). As to the DCPs… studios are realising that many repertoire cinemas are getting away showing Blu-rays and even DVDs and therefore why bother and spend more money producing DCPs of classic titles? Many repertoire cinemas are themselves saying that there is no noticeable difference between Blu-ray and a 2K DCP.
It would be great if all those people with expertise in the film-tech world could get together and try to work out a business plan for classic titles presented on film. A mixture of a skilled hobby and a business. My hunger for motion pictures is often satiated at home, with more access to movies than ever. However, my hunger for projected film is not satiated at home or with a digital projection. For that I need traditional film projection.
As it has been said here before, probably and sadly, it is not the same to keep a niche market for LPs than to keep a niche market for film prints.
Posted by Edward Havens (Member # 4715) on 12-06-2011, 06:26 PM:
quote: Ramon Lamarca Marques
There are many people like myself who only like to see those films on film.
Which begs the question... how many of these older titles have you actually seen in digital? Because I was at the Academy's screening that premiered the 4K DCP of The Wizard of Oz two years ago, and I can tell you that a thousand people, whose jobs are directly linked to the production of motion pictures, and fans of classic cinema, had their damn jaws on the floor over the exquisite beauty and composition of the transfer. After the screening, I listened to conversations from Oscar-winning cinematographers who could not believe digital could so accurately capture the gloriousness of the film's Technicolor sequences. Now, none of us knew ahead of time this was going to be a digital print. In fact, this would be one the first times the Academy would project digital in the Samuel Goldwyn Theatre, and they had to bring in a Sony 4K projector just for this event (the theatre now has two Barco DP-3000s in the booth next to their 35/70 and 16mm equipment). Some people did boo at the announcement, and I myself was skeptical about the transfer... until I saw it with my own eyes. Even though I had worked with digital projectors for about three years at that point, that showing was the day I realized how much digital was no longer the future but the present, and it was high time to get on board 100%.
I have found over the past few years, from all the people I have dealt with in Los Angeles and now in the Bay Area, and on these boards, that those who are most opposed to digital cinema are the ones who have the most to lose by its becoming a reality. Which is totally understandable. But most of what I've read on these boards the past few years does not remotely compare to the personal experiences I have had with digital at the various locations I've been at for the past five years, using a myriad of servers and projectors and supporting equipment.
Posted by Ian Parfrey (Member # 5122) on 12-06-2011, 06:59 PM:
I'm thinking that 35mm's future will lie in legacy screenings of archival prints and those of Government film libraries &tc.
It seems to be the general opinion that all future movies will be in the digital domain, and there is no reason to doubt this.
BUT, what of the massive library of shows that currently exist?
Just because digi will be used for future productions, does NOT mean that 35mm will all of a sudden disappear up it's own butt.
35mm has, and will for some foreseeable future, be used for archival purposes AND as a link to how the original production was experienced.
Remember the studios rush to suck up to film collectors in order to save 'lost' films because those same studios were too stupid to archive their own product?
The same will happen should the rate of 35mm print and equipment continue at the current pace.
Another case in point, 2" quad, 1" C-type and even U-Matic. As the equipment falls out of service then so does the history stored on those tapes.
Digital is far from the panacea to all the ills that it has been purported to be.
Posted by Ron Curran (Member # 3631) on 12-06-2011, 09:25 PM:
We might have screened our last 35mm show November 16.
Our film plant is still in place for any prints that might come our way.
However, I must say that we are very pleased with our DCP set-up. Apart from the capital cost that may never be recouped, I can't see any massive increase in operating costs.
The image on the screen reminds me of the beautiful presentation we used to have with 35mm prints from Colorfilm but the quality over the last few years has been extremely patchy.
One thing I need to know: the Barco DP2k-12c comes automatically with a 2K lamp although we are advised that the 1.2 is fine for our 20ft Scope screen (2D, we are not going 3D). Our staff loves the picture. While it is not quite burning a hole in the screen, it is noticably bright. Would anybody here have the experience of both? If the 1.2K gives good results it would be more economical but I would rather bear the extra running cost if it is just adequate.
Posted by Steve Guttag (Member # 268) on 12-06-2011, 10:00 PM:
Your 20-foot wide screen, presuming it is just a 1.0 gain matte-white needs just about 4100-4200 lumens (allowing for normal lamp decay). The 1.2K lamp will output about 7000 lumens in that projector.
So you would have plenty of headroom with a 1.2K lamp to hold 14fL. So save the money and improve your black levels.
-Steve
Posted by Ron Curran (Member # 3631) on 12-06-2011, 10:17 PM:
Thanks for the great advice Steve. Yes it is a matt screen.
Posted by Leo Enticknap (Member # 534) on 12-07-2011, 05:04 AM:
quote: Ian Parfrey
I'm thinking that 35mm's future will lie in legacy screenings of archival prints and those of Government film libraries &tc.
Archives around the world have made and continue to make a long-term commitment to film as a preservation medium for material that was originated on the format; largely because the science of film preservation is now reasonably well understood. Chemical analysis and accelerated aging tests have established pretty convincingly that in a cool and dry atmosphere, both cellulose ester (i.e. nitrate and all flavours of acetate) base decomposition and substantive coupler colour dye fading can be inhibited almost to the point of arrest. Until such time as a means is invented of storing digital data as reliably as that and for a comparable cost to that of atmospherically controlled film storage, film as a preservation mainstay is not going to change. Predictions that Moore's Law would inflate this problem out of existence have completely failed to materialise thus far. If anything the issue has got bigger, because higher resolution (and colour depth) scanners mean bigger files to archive.
As an access medium, however, I'm sorry to say it, but I'm less convinced that film has a significant long-term future. When the stuff stops being manufactured on a significant scale, a current assumption that archives make about their viewing prints (as distinct from preservation master elements) is that if they get damaged, they can always be replaced, albeit with a big bill involved. When we get to the stage at which they can't, archivists are going to start regarding their existing prints as master material as well. You can see why - the timing decisions, information outside the frame itself, etc. etc. are all primary evidence about how that film would have looked and sounded, especially if the print is an original release print that the archive has preserved, as distinct from one they have made themselves from preservation elements.
There are going to be cinematheques, rep houses and theatres attached to archives that will try to maintain their film projection capability for at least the next few years, not least because of the large volume of material that hasn't been scanned as yet. Doing so is neither simple or cheap: a 4K film scanner such as a Goldeneye or a Northlight costs six figures, and even the fastest scanners on the market take several hours to get through a 20-minute reel. That will probably come down, of course, but not overnight.
So if you're starting with a preserved title on film that has not yet been digitised, creating a DCP is at least a four-figure investment and possibly five. Of course once you've done that you can make extra copies virtually for nothing, and that's why it's the better known archive titles that are currently available in good quality digital. Putting the money into scanning, say, Casablanca, is more or less guaranteed to earn it back through DCP rentals, BD sales and broadcast/online sales, but not (to take a lesser known film from the same studio and time period) Mission to Moscow.
So, at least for the next 5-10 years, I would expect to see Mission to Moscow-type titles continuing to be shown on 35mm from the existing stock of archival prints, especially those held by non-profits. But within 20 years, I fear that the number of venues screening any film on a regular basis worldwide will be in the dozens at most.
Posted by Mark Hajducki (Member # 1732) on 12-07-2011, 05:46 AM:
quote: Leo Enticknap
So if you're starting with a preserved title on film that has not yet been digitised, creating a DCP is at least a four-figure investment and possibly five.
How much would it cost to make a new print of a similar title?
I know the cost of prints will increase dramatically once the demand drops off.
Posted by Leo Enticknap (Member # 534) on 12-07-2011, 06:08 AM:
Assuming that you're just talking about a continuous contact print from a graded (timed) internegative and optical sound negative (if applicable), the variables are whether it's colour or b/w, the total footage and whether or not you need to burn laser subtitles on.
The last I looked and assuming that you're only wanting one or two prints struck, the two or three London labs that still do this sort of work (here is the price list for one of them) would charge you in the region of £2,500 for a 90-minute 35mm colour print, all the way up to the higher end of the four-figure range for four-hour b/w epic with laser subtitles (not including doing the actual translation - that's just burning the characters onto the film stock).
Of course if the negative needs to be graded, or if there are any special processes involved (e.g. film cleaning or physical repair, or hand tinting and toning a print of a silent film), the cost goes through the ceiling. 4K digital is probably already cheaper in most cases where that sort of work is involved.
Posted by Ramon Lamarca Marques (Member # 3621) on 12-07-2011, 02:48 PM:
quote: Edward Havens
Which begs the question... how many of these older titles have you actually seen in digital?
I think the only 4K DCP of a classic title screened in the UK using a 4K projector (as far as I know) is Taxi Driver, which I have not seen. I saw the 4K DCP of the Bridge on the river Kwai but it was screened using a 2K DLP projector. The images were mostly very good, although I did not like how the night/dawn/sunset scenes looked, the blacks to my eyes were not deep enough.
I am just a member of the audience so I have nothing to lose with the disappearance of film from a financial point of view. It is obvious that there is a very important emotional element in me seeking those film screenings of classic titles. I have had very good experiences watching film and I like recreating that experience, this is why I am prepared to pay my money for film screenings like the example I gave of Cobra Woman's nitrate print. Right or wrong, I will not pay to see classics on 2K and this is my decision as a consumer. As to seeing them in 4K, I do not know, I have to see it first but DLP dark levels disappoint me, although I find Sony’s technology much better in that respect and I am sure someone in this forum will have comparative figures. I will hopefully see some 4K next year and then I will make my mind up. With its imperfections, I find the whole film experience extremely endearing for classic films. I grew up with it. From an experience point of view my brain seems to link seeing those classic films on a big screen as having to be projected on film and when they aren’t I am aware of it and this detracts from the experience a bit. I know that this is a completely subjective impression/experience, which seems to be shared by other people and I am sure there are others who do not share it.
Posted by Jonathan Goeldner (Member # 4854) on 12-07-2011, 04:53 PM:
I'm sort of surprised that Sony hasn't released more '4K' classics back up on the big screen since the 'Taxi Driver' screenings was a moderate success. Of what I've seen 4K is still in a slow rollout of the technology, wasn't 4K DLP supposed to have happened by now, the only advertised 4K DLP screening I read about was 'Battle: Los Angeles' (in Canada no less) With all the trend to restore/transfer older films in 4K (for blu-ray), you'd think 4K DCI content would be more readily accessible for theaters that have upgraded it's auditoriums to feature movies as such (side comment: personally I'd love to see the April rerelease of 'Titanic' in true 4K since it was retransferred as such and not downrezzed 2K)
Posted by Jock Blakley (Member # 6552) on 12-08-2011, 08:56 PM:
DOCTOR STRANGELOVE is also available in DCI 4K. We did a very good week with it, although I was disappointed by the noisiness of the picture.
Sony's release strategy for 4K content does seem to be little odd though... hopefully they can find some proper visual splendour with LAWRENCE OF ARABIA and the few others slated for next year.
We're quite thankful for digital cinema for allowing us to show films that have been out of print in Australia for many years. We're less thankful for the fact that it's being used as an excuse to actively kill film cinema.
The pattern we're seeing from studios and distributors is that rather than using D-Cinema to expand their catalogues by digitally releasing titles that would otherwise be unavailable, they're using D-Cinema to simply replace prints of already-available titles. Universal didn't even keep the four-track mix for THE BLUES BROTHERS when they did the 2K - straight stereo, and it was in 1.78:1 too. Screams of using the Blu-Ray masters.
All it takes now is for distributors to start junking prints based on the rationale that perhaps maybe one day there'll be a Blu-Ray of the title in question - assuming they're already not. Given their track records on junking before digital cinema even existed, I'm not to confident.
Oh, but to keep vaguely to the topic, last time we ran 35mm was last night (trailers for an E-Cinema presentation of DOGS IN SPACE). I'm seeing a strong probability of it being run on many days in the future, though ![[beer]](graemlins/beer.gif)
Posted by Victor Liorentas (Member # 5272) on 12-08-2011, 09:33 PM:
From what i see in North America,prints are being junked with speed and extreme prejudice!
Getting told more and more to use a dvd even in the case of Raiders Of The Lost Ark where a newer pristine print was struck for Ontario Canada.
Posted by Leo Enticknap (Member # 534) on 12-09-2011, 01:57 AM:
quote: Jock Blakley
DOCTOR STRANGELOVE is also available in DCI 4K. We did a very good week with it, although I was disappointed by the noisiness of the picture.
A lot of it was shot on fast stock to enable more creative lighting use, and therefore the film is naturally quite grainy. When Sony did the digital transfer/restoration, the decision was made not to smooth out the grain digitally after scanning, in order to preserve the aesthetic of the original. There is a detailed discussion of the restoration in this book.
quote: Jock Blakley
The pattern we're seeing from studios and distributors is that rather than using D-Cinema to expand their catalogues by digitally releasing titles that would otherwise be unavailable, they're using D-Cinema to simply replace prints of already-available titles.
Technical issues aren't the only ones you have to think about when re-releasing an older title. Rights clearance is a huge one, especially for post-Paramount Decree Hollywood titles, in which the original contracts will be a spider's web of licences and agreements between actors, directors, the other creatives and technicians involved, independent studios, banks who put up loans for the initial production, distributors, broadcasters etc. The chances are that if the lawyers have already done the unpicking needed to enable a title to be re-released in 35mm, then there is little or no legal barrier to a DCP. But if they haven't...
Posted by Jock Blakley (Member # 6552) on 12-09-2011, 07:05 AM:
quote: Leo Enticknap
A lot of it was shot on fast stock to enable more creative lighting use, and therefore the film is naturally quite grainy
Yeah, I know (I've spent enough money on high-speed B&W film ) I can take grain, but there's a difference between grain and noise, or at least there is to my eyes. Plus I was comparing to an original trailer and parts of an original print. Of course given what happened to that title's negatives than the current job might be best that can be done - and noisy detail is better than a china-doll-smooth detail-free image.
WRT rights: That's a valid point, although my statement leant more towards the ignoring of titles that are already cleared theatrically but completely out of print. We've come across a fair few like that - perhaps it's more common here with our junk-happy distributors than in the US.
Posted by Leo Enticknap (Member # 534) on 12-10-2011, 04:54 AM:
quote: Jock Blakley
I can take grain, but there's a difference between grain and noise, or at least there is to my eyes. Plus I was comparing to an original trailer and parts of an original print. Of course given what happened to that title's negatives than the current job might be best that can be done - and noisy detail is better than a china-doll-smooth detail-free image.
Interesting - when I saw that DCP the artefacts struck me as being simply a rendering of the original film grain. Maybe differences in the servers and/or projectors we saw it on made a difference. Another factor I'd speculate might be in play is that a 4K scanner simply 'reads' the grain structure of the film element far more accurately than even contact printing. In this case what we're seeing is a direct scan of the camera negative with minimal processing in the digital domain afterwards, apart from the compression involved in encoding the DCP; whereas any 35mm release print is going to be at least three generations away from it (original > FGIP > IN > print), with one of those printing generations having been done optically to incorporate effects. I noticed that the grainy aesthetic was different from any print of Strangelove I'd seen before, but put it down to the fact that before DCPs came along, it was simply not possible to see such an accurate rendition of what was captured on the camera negative.
quote: Jock Blakley
WRT rights: That's a valid point, although my statement leant more towards the ignoring of titles that are already cleared theatrically but completely out of print.
Marketing costs proving to be a disincentive? With the exception of iconic titles that are always going to pull an audience (I'm talking Citizen Kane or It's a Wonderful Life territory), virtually all the theatrical archive rereleases here are distributed either by non-profits, e.g. the British Film Institute, or small businesses that are run for love rather than money (Artificial Eye). Even if it's low key and just to the arthouse circuit, there are costs involved in distributing any film: posters, trailers, the censor certificate, hiring a PR agency to take journalists and the producers of radio and TV film review shows out to lunch and persuade them to cover your film, etc. etc. Sadly, I'm guessing that many of the titles that are considered viable for a niche market, high value DVD or BD release (i.e. to the small minority of fans who are willing to pay Criterion ballpark prices), just don't have enough of a theatrical market for their distributors to be willing to take the risk.
Incidentally, on the subject of Australia, I saw the Australian National Film and Sound Archive's BD of Wake in Fright last night. Beautiful restoration, but, erm, kangaroo burgers anyone?!
Posted by Ian Parfrey (Member # 5122) on 12-10-2011, 05:04 AM:
Leo.
Actually Kangaroo is quite a nice and tasty meat. It has a strong 'gamey' flavour that some find too strong, but with a peppercorn sauce or similar, it is delicious.... and almost totally fat free.
Think venison but a bit stronger in flavour.
Posted by Christian Appelt (Member # 1067) on 12-10-2011, 08:07 AM:
The original camera negative of DOCTOR STRANGELOVE could not be used for the restoration:
quote:
Through over-printing and damage created at the time of initial release, the negative of Stanley Kubrick’s Cold War black comedy DR. STRANGELOVE or: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB was destroyed at the laboratory over forty years ago. This presentation will detail the history of the preservation aspects of the film, including the decision to digitally restore the film at Cineric, Inc., a New York laboratory that specializes in film restoration.
Chemical stains, scratches and dirt were either printed into, or physically embedded into, all existing film elements. After examination and testing, it was determined the best elements for the restoration were a 35mm fine-grain master positive, a 35mm duplicate negative and a 35mm print. Each element represented a different manufacturing generation from the original camera negative, resulting in wide variations in density and contrast. It was felt that the only way to restore the film correctly, given the many different elements, their poor condition, and the need to maintain the filmmakers’ aesthetic intentions, was to use a complete 4K digital workflow.
from Strangelove Restored
So the heavy grain and/or noise in the restored version are not from original photography but rather from accumulated intermediate printing (build up of grain and contrast).
Robert Harris has discussed the STRANGELOVE restoration work here:
A Few Word About Dr Strangelove
Posted by Leo Enticknap (Member # 534) on 12-12-2011, 11:52 AM:
Thanks - I saw a presentation that Grover Crisp gave on the project a couple of years ago and thought he referred to scanning the o-negs, but clearly misremembered.
Posted by Aaron Mehocic (Member # 15) on 03-31-2012, 09:16 PM:
9:55 PM showing of The Hunger Games on March 27, 2012. The final audience consisted of only three girls about college freshman age.
After 21 years, I plan to retire effective May 1.
Posted by Manny Knowles (Member # 1171) on 04-01-2012, 01:06 PM:
Let's see... The last time we ran 35mm was... Yesterday.
Our 3pm Saturday matinee was "Young Frankenstein" - and the print was mostly great - a little bit of damage at the head of Reel-1 and a few splices in Reel-6.
As far as the whole 4K discussion goes, I think the largest screens could benefit from the increased resolution. But, for the average size screens, I don't think 2K is being magnified enough for most people to notice. I'm starting to buy into the HFR idea a little more these days. That would benefit everybody. 4K won't. (That's right - I said that out loud.)
Another point in favor of HFR is that the existing equipment should be able to handle it already.
Posted by Per Hauberg (Member # 529) on 04-16-2012, 09:26 AM:
Screen 1: Digital from 03.03.2011
Two 35mm screenings for local school since then - And that's that. Last 70mm summer 2000 (Out of Africa reissue)
DP70 #2 out march 2011 to make room for the Kinoton DCP.
DP70 #1 and platter still there, running five minutes every day, but not for long.
Screen 2: 39 seats - never able to return the digi-money.
Still running 35mm om Kinoton FP30D and platter - and now and then BluRay. Will keep on doing so, as long as prints are available. -Not for long, I'm afraid.
The Lottery will decide the future of of the small screen.
Right now in screen 2: Iron Lady, Larry Crowne and Extremely High...
Small houses in Denmark ZERO VPF !
Per
Posted by Richard May (Member # 2627) on 04-17-2012, 10:25 AM:
Still running film on all screens.....
Posted by Dennis Benjamin (Member # 1137) on 04-17-2012, 01:19 PM:
Still 35mm where I'm at.
We 'change over' in May.
35mm world wide is currently on life support, but is about to die commercially. R.I.P. to my friend of 22 years...
Posted by Gracia L. Babbidge (Member # 582) on 05-09-2012, 05:20 PM:
We're still playing 35mm at the Eveningstar, usually doing changeovers.
This week is a tad different, trailers on film, "The Kid With A Bike" on BluRay... ![[uhoh]](graemlins/uhoh.gif)
On Friday, it will be "Bully" on film, supposedly arriving half an hour before our first scheduled show of the day - if that is true, the show can start on-time, no problem. Huzzah for being reel to reel! ![[thumbsup]](graemlins/thumbsup.gif)
Posted by Scott Norwood (Member # 30) on 05-09-2012, 05:30 PM:
Kid With a Bike should be 35mm. I ran it back in October. Not sure why you have it on Blu-Ray. Excellent film.
Posted by Gracia L. Babbidge (Member # 582) on 05-09-2012, 05:45 PM:
I really have no idea why we didn't get it on 35mm. I think that because we can do BluRay if necessary, it can facilitate us getting a title sooner, from time to time.
Posted by Rick Raskin (Member # 1561) on 05-09-2012, 06:41 PM:
I can remember some films arriving so close to showtime that the first reel was on the screen as I was inspecting the second.
Posted by Victor Liorentas (Member # 5272) on 05-09-2012, 06:45 PM:
Me too! Many times during my carbon arc 20 min changeover years.
Posted by Lyle Romer (Member # 1266) on 05-10-2012, 05:47 AM:
quote: Manny Knowles
As far as the whole 4K discussion goes, I think the largest screens could benefit from the increased resolution. But, for the average size screens, I don't think 2K is being magnified enough for most people to notice.
I disagree 100%. No matter the screen size, every time I watch something on a 2k projector and sit between 1/3 and 1/2 way back I see jaggies every time text is on the screen. It is very noticeable. When I see 2k content run on a 4k projector I don't see any of this. Honestly, 2k content run on a 4k projector looks as good or better to me than a 35mm print where a 2k Digital Intermediate was used. 2k is not "good enough", 4k probably is.
Posted by Victor Liorentas (Member # 5272) on 05-10-2012, 11:56 AM:
I think of 2k as good for a home theater!
Posted by Shawn M. Martin (Member # 6762) on 07-15-2012, 12:18 AM:
June 4. I'm not the only projectionist here, but by "luck" of the draw I worked the days of the switch, which I didn't even learn was happening until the day before. The last shows were Battleship at 9:30 and Dark Shadows at 10:00. Earlier in the day I also ran the last shows of MIB 3 and For Greater Glory, which shared auditoriums with the others.
It felt kind of like being at a funeral, or actually digging the graves. My theater had run film for 23 years, and I'd been doing it for six. I'll never forget it. I doubt I'll ever find digital is equal or better, either.
Posted by Monte L Fullmer (Member # 2797) on 07-15-2012, 02:42 AM:
quote: Shawn M. Martin
I doubt I'll ever find digital is equal or better, either.
..but, you'll find that the attribute called, "fun working at the theatre" has horribly diminished...
Posted by Frank Angel (Member # 248) on 07-15-2012, 12:10 PM:
In three of the venues I work, only one has abandoned film -- the last film in the Prospect Park venue was WEST SIDE STORY. Now they use only stacked Barcos, the Century's haven't gotten get set up for two summers now. The whole system needs to be setup at the beginning of the summer in control tower in the middle of the park -- sound mixing on the bottom floor, light control in the middle and projection booth on top. It sure saves a lot of time and workhours not needing to hoist the two 35s up there and then tearing them down. But then again, the video look, well...not like film.
The other two venues still use Simplex in change-over, one with xenon, the other (my full-time 2500 seat house) with carbon arc. Both venues have Eastman 25B for 16mm. In fact, at the Museum today, they are running a show that will include three 16mm shorts. That machine was just upgraded and refurbished Friday and yesterday by Full Aperture's James Bond who has designed a new intermittent coupling that eliminates the machine's only design weakness.
So not only will at least these two venues still run film, but 16mm film at that. This venue will be upgrading their non-DCI compliant video to a Barco DCI unit in the spring, but 16mm and dual 35mm will still live next to it and run fill whenever necessary.
Posted by John Stevens (Member # 5211) on 07-21-2012, 02:28 AM:
We are still running 35mm and by the sounds of it we still will for a little while longer, with the distributors getting prints from tailand= Cheaper $$.
Also with other situations changing over we get more prints offered than we can screen!!.
We also play Arthouse on HDD files
Will miss the sound of the film running thru the projectors
Posted by Glen Rich (Member # 1150) on 07-29-2012, 08:33 PM:
29 July 2012... Windsor now screens files not films.
Posted by Jim Cassedy (Member # 4115) on 07-29-2012, 09:06 PM:
quote: Monte L Fullmer
you'll find that the attribute called, "fun working at the theatre" has horribly diminished...
....if you still have a job once they install everything
Posted by Jonathan Goeldner (Member # 4854) on 07-29-2012, 11:47 PM:
my neighborhood theatre, AMC Mazza made the full digital conversion on the two largest screens with the opening of 'Ted' - 'The Watch' looked amazingly good in Sony DP on screen 4 (unfortunately the movie itself is another story)
Posted by Monte L Fullmer (Member # 2797) on 07-30-2012, 12:35 AM:
quote: Jim Cassedy
if you still have a job once they install everything
I kept mine, but now doing floor work along with maintenance - location and booth - for now.
Maybe, in the future, I'll be allowed to return to DCP builds when mgmt team are fully trained on such, but not holding my breath.
Posted by Ron Funderburg (Member # 4561) on 07-30-2012, 04:34 PM:
The last frame of film ran through on the 8th of 8th day of December 2011.
Posted by Buck Wilson (Member # 5885) on 07-30-2012, 05:58 PM:
Looks like the last day for us will be August 17th, a mere two weeks away. I may see if I can interlock (if not just the physical aspect) the current remaining 7 film projectors some late Sunday night for the fun of it... time is short! :/
Posted by Brad Miller (Member # 2) on 07-31-2012, 12:09 AM:
Today is the last day of the various "platter array" theaters. SMG Lewisville was the last one to convert. Here is a picture taken last month:
And a picture taken tonight as the theater was down to the last screen running 35mm (array tracks being taken down here):
Other platter arrays:
SMG Arlington
Booth video tour
SMG Copperfield
SMG Royal
SMG Plano (the first one, note no dual payout or takeup)
And a shot of a VERY early (and primitive) version of the delayed interlock. This one could only delay 10 minutes. The final design could delay up to 40 minutes with up to 4 projectors in any delay combination.
Goodbye film. It was fun while it lasted.
Posted by Jim Henk (Member # 3628) on 07-31-2012, 04:03 AM:
We will need to do *something* to arrange visits to each other's private screening rooms to get our fix periodically. Film shall live on there, at least.
Posted by Tony Bandiera Jr (Member # 2365) on 07-31-2012, 01:23 PM:
Yeah if I can ever find the parts I need for my Christie... amazingly hard despite the removal of so many machines.
Posted by Claude S. Ayakawa (Member # 1401) on 07-31-2012, 01:35 PM:
What ever happens to the machines once they are replaced with digital projectors?
-Claude
Posted by Mike Blakesley (Member # 26) on 07-31-2012, 01:49 PM:
Some go to the scrap heap, some to collectors or private screening rooms, and some (like mine) are still in the booth ready to serve if ever needed. I should run some film through that thing one of these days.
Posted by Frank Cox (Member # 6258) on 07-31-2012, 01:57 PM:
I gave my whole film setup to a community-owned theatre who had film equipment that was really worn out and run down. However, the manager from there phoned me a few months back asking questions about digital cinema, so I think their use of that stuff is going to be short-lived.
Posted by Brad Miller (Member # 2) on 07-31-2012, 03:21 PM:
What do you need Tony?
Posted by Buck Wilson (Member # 5885) on 07-31-2012, 03:32 PM:
Brad, those platter arrays are mind-blowing. Hard to wrap my mind around. Digital cinema will never be that awesome!
Posted by Tony Bandiera Jr (Member # 2365) on 07-31-2012, 04:03 PM:
Brad, I need basically the whole optical sound assembly (I have the very old style with the wrong sound drum to accommodate a reverse scan reader.) I also have the studio style flat gate I'd like to replace with the newer curved one.
I have the P-35 version, with Ultramittent and single lens mount.
I was able to successfully put Kelmar dowser assembly on it though.
I have a CAT 701 so I don't need Dolby Digital in the optical setup.
I am wondering if it would be better to just get another, more up to date machine and scrap this one.
Since this is for my house and biz is pretty slow I don't want to throw much money at it either.
I'd like to get one of the machines you guys just pulled out if we can come to a deal.
Posted by Buck Wilson (Member # 5885) on 08-11-2012, 02:05 PM:
Conversion starts on Friday, network cabling starts day after tomorrow. AHH!
Posted by Bruce McGee (Member # 131) on 08-12-2012, 03:38 PM:
Our final 35mm shows are running today, Sunday.
I've been having a nightmare about this happening for several years. Today, I feel like I am in a fog.
It's going to be so strange going to work tomorrow.
Posted by Monte L Fullmer (Member # 2797) on 08-15-2012, 10:56 PM:
We rolled out 2 months ago after the many years handling celliloid.
Yes, it was a shock to the system, but still employed .. but now as anywhere else in the building as needed..and doing DCP builds, maintenance along with bulb changes when warranty gets close.
But, now after seeing all of this conversion, I've begin to wonder about the one person that is 'really' in charge: and that is the technician.
In the past, the technician had his hands full with machine based units - with gears, belts, oil motors "A and B" sound checks, parts that wears out and the like.
Now, with digital taking over our booths, none of these attributes now exist since the digital unit does two things. It runs or it doesn't .. like a computer.
With the units behaving normally, it seems that the techs are now lost with hardly anything to do when visiting locations, or waiting for phone calls that used to contain issues with picture and/or sound.
Does this spell the doom for techs, esp for the in-house variety, or what is in store for them in the future?
-Monte
Posted by Manny Knowles (Member # 1171) on 08-16-2012, 09:33 AM:
Last time I ran 35mm (for an audience) was back in late May or early June -- last Summer and this Summer our shows have been mostly digital -- but Fall and Spring semesters are a lively mix of all sorts of media -- film is already showing up for our Fall semester program -- check out the PDF booklet here.
Posted by Buck Wilson (Member # 5885) on 08-24-2012, 01:42 AM:
Expendables 2, 9:30pm, Tuesday August 21st, 2012.
Posted by Tim Asten (Member # 4051) on 11-27-2012, 06:09 PM:
After 100 years, the Dome cinema in Worthing, West Sussex has stopped running film (Tue 27/11/2012). Tonight was the last show of Skyfall and it looked great, Its the fourth week and still not a mark on it. ![[dlp]](graemlins/dlp.gif)
in both screens from Tomorrow.
Posted by Barry Floyd (Member # 385) on 12-01-2012, 10:30 PM:
My last night for 35mm is tomorrow night - Sunday, December 2nd, 2012. Going to wait a couple of weeks before we start moving the 35mm stuff out. Gotta find a place to put it in my garage.
Putting in Barco DP2K-23B's @ 4.2KW with GDC servers and USL JSD-60 sound processors. Should be in and ready to go by March 1st.
Posted by Bill Enos (Member # 440) on 12-04-2012, 01:43 PM:
Last day for film was Nov. 15, 2012
Posted by Bobby Henderson (Member # 840) on 12-04-2012, 09:00 PM:
quote: Monte L Fullmer
With the units behaving normally, it seems that the techs are now lost with hardly anything to do when visiting locations, or waiting for phone calls that used to contain issues with picture and/or sound.
One thing they could be doing is more work to improve sound quality in lots of theaters. Too many locations are still pretty deficient on the sound side of things. It takes more than a master quality 24-bit Linear PCM surround track embedded in the DCP to deliver great sounding audio to the audience. Lots of d-cinema conversions have taken place with little to nothing done to existing 5.1 channel wired sound systems.
Some theaters operators, like Mike Blakesley for instance, are going that extra step to make big sound system improvements. From my point of view it looks like the major theater chains are doing as little as they need to do. If any big sound system improvement takes place in a chain location it's typically happening in a premium priced house equipped with a bigger screen and funny acronym brand name.
Posted by Manny Knowles (Member # 1171) on 12-05-2012, 09:39 AM:
Bobby -- remember that most theatres aren't converting because they want to "improve" anything -- they're doing it because they have to do it if they want to keep showing movies.
Posted by Bobby Henderson (Member # 840) on 12-05-2012, 12:09 PM:
Yes, that is pretty much a given fact. Just pondering things from "a better world" pipe dream perspective if the theater chains want to keep the tech guys busy they'll turn them loose on those sound system issues. Sadly, that would involve the big theater chains spending more money and pissing off various investors in their stock. They'll probably go the other direction and reduce the number of tech guys down to a minimum level. What better way to increase profit margins other than cutting payroll?
Posted by Manny Knowles (Member # 1171) on 12-05-2012, 01:05 PM:
Well, at least you realize that it's a pipe dream perspective. And, trust me, I support the desire -- I just don't see it happening until someone can demonstrate that there's (big) money to be made by spending more money on sound. Especially since they seem to have discovered that they don't really need a good sounding sound system, when they sell just about any sound system if they give it a "sexy" new name.
Right now "digital" seems to be doing just fine as a marketing buzz word. Maybe when that hype dies down, they'll start looking for something else to hype. And maybe that will be something pertaining to improved sound. But, for the time being, I think the order of the day is to just convert the projectors from film to digital.
And, I hate to point out, one of the selling points of digital is reduction in manpower. So, yes, I agree with your last point about the likelihood of increasing profits by cutting payroll.
Posted by Scott Norwood (Member # 30) on 03-26-2013, 02:31 PM:
The Avon Cinema in Providence, RI. played "Barbara" through last Thursday (3/21) as its last regular first-run 35mm booking. "Stoker" opened on 3/22 in D-cinema. They upgraded from mono sound to left/center/right/sub as part of the D-cinema installation. The 35mm projectors will remain for occasional screenings of older films or material not available in DCP format and for rentals and film festivals.
In their case, the conversion was motivated partly by the unavailability of parts needed to maintain their film system. Reflectors and carbons have become scarce over the last couple of years, and they would have needed a major upgrade of their film equipment fairly soon if they had not installed the DLP projector. Prints have become harder to come by recently as well, and this has potentially hurt bookings. In their case, D-cinema was inevitable at this point. They do have a stockpile of carbons and small parts which should last indefinitely for occasional screenings.
The whole thing makes me both happy and sad at the same time. Happy, because the theatre will remain open for many years into the future and sad because none of these changes should have been necessary.
Posted by Michael Uebler (Member # 6876) on 03-29-2013, 08:03 PM:
march 20th was the last day the the projectors spun at reel time theatre on FT. Drum New York. I'm still quite bitter to tell you the truth life is not the same delivering pizzas, as it was showing movies. Best of all i was supposed to have a supervisor possition once we converted but the upper management wouldn't approve it so they are running a theatre now with two shitty consession stand workers and a food court supervisor thats there only 1 show a week.
Posted by Gracia L. Babbidge (Member # 582) on 04-12-2013, 11:56 PM:
At the Eveningstar Cinema in Brunswick, the last day a feature was played on film was Thursday, 28th March, 2013. The film was Quartet, and as had been the case since the cinema opened in November 1979, it was run on 2k reels.
I know for certain that trailers were still played on film through Sunday, 31st March, and may have also been played on Monday, 1st April. The feature running that week was Hava Nagila (The Movie), and was played from a BluRay, through a video projector (normally used for the pre-show ads).
We were closed all day Tuesday 2nd April for the installation of our new Barco DP2K-10Sx & Doremi server. Then we finished out the week still playing 'Hava' through the video projector.
On Friday, 5th April, we ran our first digital feature: On The Road.
Posted by Michael Putlack (Member # 6523) on 04-16-2013, 02:05 PM:
Here at the Lyric Cinema Cafe in Fort Collins, Co, we played our last 35mm film on Sunday April 14th. It was Spring Breakers. Since we converted one screen at a time, the first movie on our Barco DP2K-10Sx that same morning. It was also Spring Breakers.
We were planning on converting Wednesday and Thursday, but we were waiting for our servers. We had a big "The Last 35mm Film in Fort Collins" from the 5th through the 11th where we played Black Dynamite and had 500 people show up to our 9 screenings. It was a pretty awesome send off.
Posted by Jonathan Goeldner (Member # 4854) on 05-13-2013, 03:31 PM:
Sunday (yesterday) was the last day for the 35mm engagement of 'The Place Beyond the Pines' at the Avalon Theater (Washington DC), as well as the screenings of 'Hava Nagila' and 'Barbara'. The new digital systems are being installed today through Wednesday. 'Star Trek into Darkness' is their debut film in digital, and the system is also supposedly able to playback 7.1 audio.
Posted by Rick Raskin (Member # 1561) on 05-13-2013, 05:10 PM:
Will they be keeping the 35s?
Posted by Jack Ondracek (Member # 1466) on 05-13-2013, 06:01 PM:
Rodeo Drive-In, Port Orchard, WA (W. of Seattle)
Ended our 2012 season with 35mm (end of September).
Installed December, 2012 & Opened 2013 season on March 1 with digital.
1 Barco DP2K-32B & 2 Barco DP2K-23B
Already had digital sound. Only needed D/A converters. Put in USL DAX-602s
Posted by Jonathan Goeldner (Member # 4854) on 05-13-2013, 06:22 PM:
no Rick they wont be - there's no room in the projection booth for the two projectors - unfortunately.
Posted by Jon Busch (Member # 4011) on 06-03-2013, 10:54 AM:
Seems I posted to the wrong Forum. This one seems right - thanks for pointing me here. I am playing my last "film" this week here in Aspen. It's LAWRENCE OF ARABIA in mag 70mm. It is the grandest way I could think of to say goodbye to the film format. I am pleased to say that arrangements are being finalized to relocate the Norelco DP75 projectors to the local multiplex which is owned by the local film festival. I'd also be interested in finding a DTS setup that could be donated (I really had a hard time getting a mag print as most of the LAWRENCE prints are DTS.
Posted by Manny Knowles (Member # 1171) on 06-26-2013, 11:51 AM:
Indiana University Cinema will present four days of rare comedies this weekend:
Slapsticon 2013
IU Cinema Calendar
Posted by Jonathan Goeldner (Member # 4854) on 06-29-2013, 08:01 PM:
although the AFI Silver will pretty much be keeping all it's equipment for displaying multiple formats, (digibeta, HDCam, 16mm, 35mm, [70mm: on the main screen]) next month (July) marks the debut of it's DCP units in their three auditoriums: Christie 4K projectors (with at least one being able to project in 3D) and upgraded 7.1 audio.
Posted by Steve Guttag (Member # 268) on 06-30-2013, 12:17 AM:
Theatres 1 and 2 will have Dolby 3D. I think you will find that film will be very present for the foreseeable future. The biggest change will likely be on the the current "modern" features.
Posted by Gavin Lewarne (Member # 5397) on 06-30-2013, 06:32 AM:
We are currently playing a BFI print of "Point Blank" which will finish its run on thursday.
After that I cant forsee the Vic5 being used again for a long long time.....
Posted by Steve Moore (Member # 4753) on 08-03-2013, 09:31 AM:
If showed, as far as i know my last 35mm current release 3 weeks ago. I am excitited however that we are playing the 1935 Marx Brothers night at the opera on 35mm on the 11th Sept 2013, here in Leeds.
Posted by Pravin Ratnam (Member # 1417) on 08-03-2013, 11:43 PM:
Film or digital, way too many theaters are still failing the grade at displaying movies at the correct light levels. Why don't those techs, use their lack of enough work, to instruct the managers of these multiplexes that their light levels are off? Way too many dim pictures. The worst light levels these days , at least in the Regals, I go to are their big screens which are equipped for both 2d and 3d.
It's really frustrating because the managers do not give a damn if you complain about it. These dim pictures seem to have gotten worse in half of the local Regals I have been to. And I don't think it's just because of the 3D SONY projector not being used properly for 2D issue either.
Posted by Buck Wilson (Member # 5885) on 08-04-2013, 01:11 AM:
Smaller bulbs=longer warranty=cheaper.
It is truly unfortunate. They don't care.
On the original topic, a bit of a update, aside from the status panel on the ceiling and the two rewind tables, you can't tell film was ever in the booth here. It's so sterile its disturbing. All the stuff was hauled off yesterday morning.
Posted by Justin Hamaker (Member # 2165) on 08-04-2013, 05:18 AM:
The last day film ran at my drive-in was Sunday, June 16, 2013. On Wednesday June 19 we opened with a Barco 32B.
Posted by Kerry Fleming (Member # 1657) on 08-04-2013, 09:09 AM:
YESTERDAY! Showings begin at 10 am again today. More showings to follow for as long as 35mm film bookings are still available. People can still come to the movies at our theater and see film not video! We have one digital system with 3D but, it is not in use this week. Why you ask? Because the public doesn't want to pay the up charge for 3D. Guess the novelty has worn off. ![[Cool]](cool.gif)
Posted by Kirk Sayers (Member # 4431) on 08-08-2013, 06:21 PM:
I ran a 35mm print of "Manufactured Landscapes" on July 31st and i am running a print of "It Might Get Loud" on Aug. 12th, this is an Independent art house Theatre I work in though and the rest of the month is DCP. The Bytowne Cinema, Ottawa Ontario if anyone is interested.
Posted by Jock Blakley (Member # 6552) on 08-08-2013, 07:49 PM:
Hehe, we last ran film on Monday night; a 2006 reissue of ZABRISKIE POINT. Now we're not going to run film again... until Sunday afternoon, with Branagh's HAMLET in 70mm. Then THE SEARCHERS that evening.
Posted by James McCaffrey (Member # 5247) on 08-10-2013, 01:28 PM:
here we got 2 screens 35mm and digital in both over a year from my last 35mm manger will buy a DVD Blu-ray instead of letting me do my job right.
Posted by Steve Moore (Member # 4753) on 08-10-2013, 02:43 PM:
Update from cottage road in leeds.. at the moment it looks like 3 35mm prints over the next couple of months, which is exciting for me... Night at the opera, marx bros from 1935 on 11th Sept, 17th Sept either back to the future or ghostbusters and 24th sept fanny and elvis... so not all is lost and Vic 9 gets to run a few more times!
Posted by Aaron Burgess (Member # 3875) on 10-02-2013, 04:23 PM:
Still running film prints. Our digital installation is expected to be mid November. tick tick tick..
Posted by Martin McCaffery (Member # 37) on 10-04-2013, 01:53 PM:
We were supposed to add digital in October, but a contractor flaked on us. Now may be December or January. Keeping the 35mm, though.
Posted by Stu Rasmussen (Member # 7970) on 11-26-2013, 11:44 AM:
My first post to the forums - with a subject I am an authority on!
February 2, 2012 was our last 35mm screening - Playing "Mission Impossible - Ghost Protocol"
We inaugurated our digital projection system with 'War Horse" on the following day.
The 35mm equipment is still in place - ready for action when this digital fad blows over. While we're waiting, the platter makes a dandy 'Lazy Susan' for digital prints... Sigh.
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