quote: Stephan Shelley

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Does anyone remember any black & white 70mm releases?

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In Harm's Way (1965)
Is Paris Burning? (1966)
The Longest Day (1969 re-release)
 

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Posted by Brad Miller (Member # 2) on 12-07-2018, 11:47 PM:
 
If this is being printed on 70mm polyester black and white stock, theaters had darn well better be running FilmGuard or those prints will really go to shit fast. 70mm poly is bad enough, but add black and white stock to that...oh boy!
 

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Posted by Sam D. Chavez (Member # 1841) on 12-09-2018, 01:53 PM:
 
It looked a bit sepia to me at Telluride so guessing it was color stock.
 

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Posted by Jan Eberholst Olsen (Member # 10133) on 12-11-2018, 09:24 AM:
 
Russian movie "Optimistic Tragedy" from 1963 was shot in Sovscope 70 in black and white.

How many prints are they making of ROMA in 70mm?
 

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Posted by Stephan Shelley (Member # 8587) on 12-12-2018, 06:33 PM:
 
I have heard it was 7 but that may just be for north America.
 

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Posted by Carl Martin (Member # 1146) on 12-12-2018, 07:27 PM:
 
so who knows where any of these 7 are ending up? (stephan--the grand lake site shows the dlp logo and no 70mm logo still... so i'm guessing it ain't happening there.)
 

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Posted by Stephan Shelley (Member # 8587) on 12-12-2018, 07:48 PM:
 
Look like DCP for the Grand Lake. I have heard the Hammer Museum in LA will have a 70mm showing and someplace in Toronto. David you getting a 70mm print at the Willows?
 

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Posted by Mike Blakesley (Member # 26) on 12-12-2018, 10:02 PM:
 
Netflix is being pretty smart about this. They've apparently made a really good movie, but one with a very limited probable audience. So it'll win a lot of awards, but do small boxoffice numbers, and even if it's not all that popular on the streaming service, they'll be able to claim that the two-week streaming window didn't hurt anything. Talk about a Trojan horse.
 

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Posted by David J Hilsgen (Member # 2614) on 12-13-2018, 02:41 AM:
 
Stephan, no my boss passed on it because of it opening on Netflix on the same day ,personally I think it would have did okay
 

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Posted by Julian Antos (Member # 5497) on 12-13-2018, 01:46 PM:
 
Music Box in Chicago is now confirmed for a 70mm "mini Run" from Jan 9-13 on 70mm. I'm told these were printed on 2383. Looking forward to running this!
 

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Posted by Carl Martin (Member # 1146) on 12-19-2018, 08:29 PM:
 
castro theatre in sf has it in 70 jan 2-5.
 

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Posted by Bill Hogan (Member # 5283) on 12-20-2018, 11:30 PM:
 
Here are the details for the NETFLIX distribution of the 70mm prints.

https://variety.com/2018/film/news/netflix-alfonso-cuaron-roma-70-millimeter-release-1203094340/

The 70mm special presentations include:

· Los Angeles: The Egyptian – January 10-11

· San Francisco: The Castro – January 2-5; Alamo Drafthouse – January 12-14

· Chicago: The Music Box – January 9 – 13

· New York: Alamo Drafthouse Brooklyn – January 11-17;

· Hartford, CT: Cinestudio – January 23 – 26

· Austin: Alamo Drafthouse Ritz – December 26 – January 1

· Toronto: Bell TIFF Lightbox – currently showing through December 20
 

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Posted by David J Hilsgen (Member # 2614) on 12-22-2018, 12:58 AM:
 
Got the confirmation today ,Emagine Willow Creek in Plymouth Minnesota has a play date of January 11th through the 17th on Roma in 70mm
 

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Posted by Carl Martin (Member # 1146) on 12-23-2018, 04:10 AM:
 
also, unless it's a typo on the american cinematheque calendar, the aero in la has it in 70 jan 4.
 

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Posted by Mark Gulbrandsen (Member # 72) on 12-24-2018, 03:09 PM:
 
The prints were struck from a 4K D.I.
 

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Posted by Gordon McLeod (Member # 33) on 12-25-2018, 09:09 AM:
 
I saw it in Toronto and it looked stunning
 

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Posted by Sascha F. Roll (Member # 9043) on 01-12-2019, 04:02 PM:
 
So, are there more members of this forum that have seen ROMA in 70mm and maybe also 4k digital projection? Curious what it looks like. I was very underwhelmed with some of the latest 70mm prints that were struck from a digital master, READY PLAYER ONE looked particularly soft, even in comparison with the 2k DCPs that I have seen on various projectors (DLP and SXRD).

If we're lucky we'll get a 70mm at some point for one the festivals here in Europe (Bradford, Karlsruhe, ...).
 

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Posted by Kieran Hall (Member # 10268) on 01-30-2019, 07:21 PM:
 
So, it seems the BFI Southbank had a print for a s ingle screening. Anybody know if there are any further plans for it over this side of the pond?

We'd definitely jump at the chance to book it!
 

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Posted by Terry Monohan (Member # 8285) on 01-31-2019, 10:44 PM:
 
The Castro Theatre in SF will be bringing 'ROMA' back again for 4 days on 70mm film starting Friday Feb 15 2019. So many cinemas are missing playing this film the next few weeks as It may win best movie along with Green Book.
 

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Posted by Bill Hogan (Member # 5283) on 02-15-2019, 01:55 AM:
 
Unfortunally all 70 mm titles that originate as a digital file
are output to a film negative via a older CRT recorder. With the limited resolution of the CRT and the CRT face plate flare the
film outs are not very sharp.

There was never a laser recorder built for 65 mm negative stock.
 

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Posted by David Farris (Member # 9349) on 02-15-2019, 04:08 AM:
 
Bill Hogan, that's very interesting, I wasn't aware.

That reminds me of a perhaps basic question--if it's coming from a digital source, why print to a negative, and incur generation loss, rather than a positive? Is there a technical reason why the result of printing to a negative and then striking a positive would be better? (I don't understand the differences between the two processes well enough for this to be obvious.) Happy to know for either CRT or laser recorders.
 

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Posted by Bill Hogan (Member # 5283) on 02-15-2019, 04:41 AM:
 
Although there is (was) the "CINEVATOR" that could record directly to positive print film stock the process for the last 125 years is to make a negative (in a film camera or from a film recorder) and then make as many positive film prints as desired.

This allows the negative which takes a very long to make on a film recorder to be used to make many prints. I think there was decussion of the FOTOKEM lab making about 10 prints of ROMA. The printing speed can be as low as 100 feet per minute and when Technicolor/Deluxe were still open printing speed for 35 mm could be more than 2000 feet per minute.
 

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Posted by Tyler Purcell (Member # 9213) on 02-18-2019, 09:20 PM:
 
Hey Bill. Few things to note...

Cinevators are still very much around. In fact, they're still used for archiving purposes and the company is still alive. Sadly though, they're only for 35mm, there is no alternative then the old CRT for 65/70mm. However, crispness of the prints has never been a question. I've seen nearly all of them and found them very crisp in most cases. I haven't seen a bad 4k recording, but I have seen some pretty bad 2k recordings that were soft. Wonder Woman would have been one of them.

Most 70mm prints are done photochemically. Yes, in the last few years we've seen a push for regular movies to be presented on 70, but to my count, there were only 5 done before Warner kinda gave up the idea as theaters lost interest.

'The Master', 'Interstellar', 'Inherent Vice', 'Hateful Eight', 'Dunkirk', and 'Phantom Thread' all done photochemically, with VFX shots cut into the camera negative. It's unfortunate they shot 'Batman V Superman' and 'Wonder Woman' on anamorphic 35mm, but did an entire digital post. I think this was mainly because there were so many VFX shots and frankly, the studio's don't care about quality. Nearly everything is still shot at 3.8k and finished in 2k, with the rare exception, usually 6 - 8 titles a year being 4k though the entire workflow including distribution.
 

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Posted by Bill Brandenstein (Member # 7758) on 02-19-2019, 12:00 PM:
 
So a 4K digital restoration, such as was done for Lawrence of Arabia, thus has to be printed back out to film on the CRT unit.

That being the case, it must be said that it's quite a CRT.

On the other hand, going forward there will be an increasing number of 70mm titles where a photochemical restoration will be impossible. Too bad a laser-based solution is either too expensive or too impractical to be built.
 

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Posted by Carsten Kurz (Member # 5396) on 02-20-2019, 04:02 PM:
 
Wouldn't it still give the better results to use an ARRILASER for a 4k-35mm, and then a blow-up to 70mm?

Does anyone know how digital-outs for IMAX 15/70 are done? Have been done, I mean...

- Carsten
 

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Posted by Jean-Pierre Gutzeit (Member # 7275) on 03-13-2019, 04:35 PM:
 
Who releases it for the european cinemas, who is the distributor, please? Participant Media?
(We would like to screen it at first in Austria. Thx for any information.)
 

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