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07/07/2004: "Spider-Man 2 heading to IMAX"

IMAX Corporation and Columbia Pictures today announced that Spider-Man 2 will be distributed to IMAX theatres worldwide this month. The film will be released to the IMAX network beginning on July 23, 2004. The film is being digitally re-mastered through proprietary IMAX DMR (Digital Re-mastering) technology. The full press release follows:
Spider-Man 2 Spins into IMAX® Theatres as Digitally Re-Mastered IMAX Release

LOS ANGELES, July 7 /PRNewswire-FirstCall/ -- IMAX Corporation (Nasdaq: IMAX; TSX: IMX) and Columbia Pictures today announced that Spider-Man 2 will be distributed to IMAX® theatres worldwide this month. This widely-anticipated film, which generated a record breaking $180 million in its first six days of release in the United States and Canada, will be released to the IMAX network beginning on July 23, 2004. The film is being digitally re-mastered into the unparalleled image and sound quality of The IMAX Experience® through proprietary IMAX DMR® (Digital Re-mastering) technology.

"When you have a movie like Spider-Man 2, it makes sense to offer audiences an opportunity to experience the film in this incredible format," said Jeff Blake, Vice Chairman of Sony Pictures Entertainment and President of Worldwide Marketing and Distribution.

"We are very pleased to add this phenomenal film to IMAX's blockbuster 2004 lineup," said IMAX Co-CEO's Richard L. Gelfond and Bradley J. Wechsler. "About a year ago, we did tests on the first Spider-Man, and since then, we've always thought Spider-Man 2 would be fantastic as an IMAX film. Columbia Pictures' entry into the IMAX business is further evidence that the Hollywood studios are recognizing the potential of presenting their event films in IMAX's format and capitalizing on the IMAX release window."

"Spider-Man 2 is ideally suited for IMAX and to be able to offer this superb movie to fans of IMAX and the Spider-Man franchise around the world in just a few weeks is an exciting development," said Greg Foster, President of Filmed Entertainment, IMAX Corporation. "Our proprietary digital re-mastering technology is making significant advances. It now has greater flexibility than ever before, enabling Hollywood studios to move quickly to reformat their blockbuster films and seize on the consumer demand for Hollywood event films in IMAX's unparalleled format."

In Columbia Pictures Spider-Man® 2, two years have passed since Peter Parker (Tobey Maguire) walked away from his longtime love Mary Jane Watson (Kirsten Dunst) and decided to take the road to responsibility as Spider-Man. Peter must face new challenges as he struggles to cope with "the gift and the curse" of his powers while balancing his dual identities as the elusive superhero Spider-Man and life as a college student. The relationships Peter holds most dear are now in danger of unraveling as he clashes with the powerful, multi-tentacled villain "Doc Ock" (Alfred Molina).

Spider-Man® 2 reunites the cast and filmmakers from the first adventure, including Tobey Maguire, Kirsten Dunst, James Franco, Rosemary Harris and J.K. Simmons, under the leadership of director Sam Raimi and producers Laura Ziskin and Marvel's Avi Arad. Joining the ensemble cast are Alfred Molina as Dr. Otto Octavius ("Doc Ock"), Daniel Gillies as John Jameson, Vanessa Ferlito as Louise, Dylan Baker as Dr. Curt Connors and Donna Murphy as Rosalie Octavius.

Columbia Pictures Presents A Marvel Enterprises/Laura Ziskin Production Spider-Man® 2 starring Tobey Maguire, Kirsten Dunst, James Franco, Alfred Molina, Rosemary Harris, Donna Murphy and J.K. Simmons. The film is directed by Sam Raimi (Spider-Man, The Evil Dead). The screenplay is by two-time Oscar® winner Alvin Sargent (Ordinary People, Unfaithful) based on the Marvel Comic Book by Stan Lee and Steve Ditko. The screen story is by Alfred Gough & Miles Millar and Pulitzer-Prize winning author Michael Chabon. The producers are Laura Ziskin (Spider-Man, Pretty Woman) and Avi Arad (X-Men, Daredevil).

About IMAX Corporation

Founded in 1967, IMAX Corporation is one of the world's leading entertainment technology companies. IMAX's businesses include the creation and delivery of the world's best cinematic presentations using proprietary IMAX and IMAX® 3D technology, and the development of the highest quality digital production and presentation. IMAX has developed revolutionary technology called IMAX DMR (Digital Re-mastering) that makes it possible for virtually any 35mm film to be transformed into the unparalleled image and sound quality of The IMAX Experience. The IMAX brand is recognized throughout the world for extraordinary and immersive family entertainment experiences. As of March 31, 2004, there were more than 235 IMAX theatres operating in 34 countries.

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quote: Every DMR press release EVER!

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"'Ooh, this IMAX thing is really a great format, and we're pleased to release our movie this way and make tons of money more than we would have ... oh, yeah, and the technology is getting better all the time.' Blah, blah, blah, audiences deserve it, blah, blah, blah. So-and-so spokesman from popular-film-studio says 'I'm just glad that we have this opportunity (to make money)' and so-and-so from IMAX adds, 'Yes, finally we can get some attention (but there's still no one doing any effective ADVERTISING for it!)' IMAX is great and we encourage everyone to pay exorbitant ticket prices to see all the interesting textures present in lead characters' faces."

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quote: Dick Vaughan

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The only reformatted (not DMR strictly speaking) film I know that used the sixth (screen top) channel was Beauty and The Beast.

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quote: Adam Martin

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The Lion King did as well, when Simba was speaking with his father who was in the sky. The father's voice was coming from the spare parts channel.

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Of course it did! Put the memory loss down to advancing years or over consumption of Guinness!!
 

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Posted by Brian Michael Weidemann (Member # 2243) on 07-09-2004, 04:30 AM:
 
Woah, woah, hold it RIGHT there! There is NO such thing as OVER-consumption of Guinness!

Ah yes, spare parts channel, indeed. Of course, that's a high climb for a spare driver.
 

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Posted by Gordon McLeod (Member # 33) on 07-09-2004, 09:37 AM:
 
"Put the memory loss down to advancing years or over consumption of Guinness!!" Impossible but to be safe switch to Tetleys Yorkshire bitter I doubt you could over consume it
 

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Posted by James B. Openshaw (Member # 1310) on 07-10-2004, 07:27 PM:
 
Aye, Guinness, not much of a taste, but a nice impact on the nerves.

I wonder if that claim by Warner Bros. about Special Effects being the reason for canceling the DMR transfer for Catwoman was the 'real' reason. Personally, from the trailer, it didn't look like a very promising movie and I wouldn't be surprised if the actual truth was that some IMAX theaters didn't want Catwoman.

As for Spider-Man 2 in DMR, it could do well, but that delayed release date might impact sales.
 

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Posted by Brian Michael Weidemann (Member # 2243) on 07-11-2004, 04:11 AM:
 
Guinness, not much of a taste!?! It's only about a 4% alcohol beverage, so it doesn't help the nerves as much as some beers could; but the taste is a nice, warm friend ... a familiar companion on lonely nights ...

But for extra taste, try the Guinness Stout! Now THERE'S a beer!

I didn't hear about any "special effects"-related decisions in the Catwoman cancellation. But, yes, I agree that it just doesn't look worthy of even 35mm. I'll be surprised if this movie lasts a second week.

I was told, although it's most likely an educated-guess rumor, that it was the foreknowledge of Spiderman's IMAX release that was the sole reason for the let's-pull-Catwoman-to-save-ourselves-embarassment decision.

Plus, there are possibly reasons precedent in recent IMAX history; such as Regal's flat-out denial to play Disney's The Young Black Stallion, allegedly after viewing it and finding themselves morally repulsed by notion of charging $11.50 a ticket for 45 minutes of . I think it was a good decision on Regal's part, but it's this kind of power that may make studios think twice about what to do last-minute DMR transfers to, just to make a few extra bucks.
 

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Posted by James B. Openshaw (Member # 1310) on 07-11-2004, 03:45 PM:
 
Brian, don't get me wrong, I like Guinness, I just don't think it has much of a flavor, must be that wedge or whatever it's called inside of it.

My theater had the unfortunate opportunity to play YBS, and it was BS. Luckily, we didn't raise our price for that 50 minute joke.

My theater is thinking about getting Spider-Man 2 for the July 23 release, but we'd have to tear down HP3 and that's still getting business.
 

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Posted by Brian Michael Weidemann (Member # 2243) on 07-23-2004, 06:32 AM:
 
This film opens tomorrow (well, technically in about six hours). I built and screened it and it was pretty good.

It was much brighter and colorful than Harry Potter. There are still traces of film grain, but nothing worse than the first reel of HP3 (which I thought was bad). Once again we're treated to every nook and cranny and scar and pimple on everyone's faces. A couple close-ups were a little blurry, but most of the film is nice and crisp. I did NOT think the CG stuff was blaringly obvious, as it easily could have been. It blended well, despite the DMR transfer.

I noticed a couple "sharpening" artifacts, especially on the top of the image where it meets the matte bar. It always seems to "halo" along the top. It's not too distracting, and I'm not sure most people would even know.

On a side note, several days ago we had our QT platter deck #2 upgraded to a 150!!! And we got a third 150 minute platter to go with it. We are holding Harry Potter over with one show a day, and now we don't have to swap them out. Yes, remarkably, deck #2 can hold the weight of Harry Potter.
 

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Posted by Will Currie (Member # 2550) on 07-25-2004, 01:53 PM:
 
As a know-nothing, I thought the film looked amazing. There were a lot of hair like fibers that seemed to move around an disappear... it looked like loose fibers on the film, or on the glass or something like that. The problem went away after 15 minutes or so... do you guys know what was it exactly?

I'd say it was much better than potter and I was pretty darn impressed with that. Like I say though... I am just a average movie goer;)
 

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Posted by Brian Michael Weidemann (Member # 2243) on 07-25-2004, 04:44 PM:
 
That's exactly what it was, loose fibers from the film, random dirt particles, anything the film collected while being built up. That happens. These prints were likely built up in the past five days or so. The system is designed to wipe the field, which is why they disappeared. If an operator was viewing the show at the time he/she should have "wiped" as soon as the fibers were seen. But most of the time, it's just set to auto-wipe.

The Particle Transfer Rollers will clean up the prints in no time, though.
 

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Posted by Gordon McLeod (Member # 33) on 07-25-2004, 06:07 PM:
 
"But most of the time, it's just set to auto-wipe."
the operator maybe but projectionists around here actually watch the screen
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 07-25-2004, 09:13 PM:
 
That's because you can see the screen from where your coffee maker is Gord.
 

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Posted by Gordon McLeod (Member # 33) on 07-25-2004, 09:17 PM:
 
Actually it is the other way around the coffee pot was put where the screen could be seen
 

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Posted by Dick Vaughan (Member # 540) on 07-26-2004, 02:12 AM:
 
And by use of mirrors you can still see the screen from your luxuriosly appointed "comfort facility" ,right?
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 07-26-2004, 03:43 AM:
 
Mirrors? Bah! Just lean forward. While you're at it, you might as well grab a cup of coffee while you're in there.
 

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Posted by Gordon McLeod (Member # 33) on 07-26-2004, 10:09 AM:
 
Almost all the comforts of home just can't convince them to extend the pub draft lines over to the booth I thought the CCU could nbe converted to a more usefull purepose of chilling the guiness lines
 

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Posted by Brian Michael Weidemann (Member # 2243) on 07-26-2004, 04:31 PM:
 
CCU Guinness tap! I'm all for that idea. Nice to bring this thread back on topic.
 

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Posted by James B. Openshaw (Member # 1310) on 07-27-2004, 05:29 PM:
 
Is it just our print or do other theaters have bright green spots (not scratches) flash once on the screen every 20-30 minutes? I guess this film was transferred rather quickly.

Off topic: our CCU has a minor leak so that Guiness idea will have to wait over here for a while.
 

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Posted by Brian Michael Weidemann (Member # 2243) on 07-27-2004, 05:41 PM:
 
I don't know about green spots, but we have random little white spots that appear, more often than that. I, too, am thinking they rushed these prints, but I don't know the process well enough to know what could cause spots, or even if that's what they came from.

When I see random spots, I immediately think the lamp is scorching the print, but our lamps are nice and balanced and running at average power.
 

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Posted by Mark Lensenmayer (Member # 134) on 07-27-2004, 07:31 PM:
 
Regarding the flashing green spots, could that be a copy prevention code? Do the green spots appear in a pattern, or are they just "blotches"
 

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Posted by James B. Openshaw (Member # 1310) on 07-27-2004, 07:43 PM:
 
Blotches.

Edit: These one frame blotches appear about .5-1 seconds after a splice goes through.
 

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Posted by Will Currie (Member # 2550) on 07-27-2004, 09:14 PM:
 
How do they make prints for DMR films? Is it some kind of laser printing?
 

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Posted by Dick Vaughan (Member # 540) on 07-28-2004, 04:57 AM:
 
So they started crap coding IMAX prints now
 

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Posted by James B. Openshaw (Member # 1310) on 07-28-2004, 08:22 AM:
 
Dick, I doubt that the green misshaped blotches on the screen are CAP code (I'm calling it CAP code at least once to not offend Mr. Pytlak ), but I did catch one flash of a series of black patterned dots that could very well be CAP code on the print but I forget exactly where in the movie that I found it.

Will, I don't know the exact details on how IMAX DMR transfers the images from computer to 15/70 but I don't think it was done on laser printing. My guess is that it was processed by DKP70mm in California (or at least the duplicated release prints were) by usual computer-to-film transfer. I'm sure someone else here has more insight.
 

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Posted by John Pytlak (Member # 331) on 07-28-2004, 12:44 PM:
 
Facilities at DKP 70mm in Santa Monica, California:

http://www.findarticles.com/cf_dls/m4PRN/2000_May_12/62056516/p1/article.jhtml

quote:

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IMAX Consolidates Los Angeles Units At New Facility In Santa Monica.
PR Newswire, May 12, 2000

Brentwood Offices and Culver City Post-Production Operations

Move to Expanded Westside Site

SANTA MONICA, Calif., May 12 /PRNewswire/ --

Imax Corporation (Nasdaq: IMAX; Toronto: IMX) has consolidated its Los Angeles operations into new facilities within the westside's media-oriented Lantana Center complex at 3003 Exposition Boulevard. The structure is the new home of various Imax subsidiaries and operating units which had previously been located in the Brentwood section of Los Angeles and in Culver City, as well as several units of the Company that had not before had a West Coast presence.

"This new building brings all of our Los Angeles-based personnel under one roof. It also makes it easier for filmmakers to make large-format movies by having the most modern 15/70 post- production and projection facilities on the planet available to them in a comfortable, modern, convenient setting," said Imax co-CEOs Brad Wechsler and Rich Gelfond. "This is very important to us at a time when we are expanding our presence in the Los Angeles film community."

Designed to reflect Imax's modern and technologically progressive culture, the building contains three IMAX(R) screening rooms -- one of which is a fully-equipped 46-seat state-of-the-art IMAX 3D presentation theatre with E3D headsets and the latest generation, full-sized SONICS sound system. The other screening rooms -- one an IMAX theatre and the other an IMAX 3D SR theatre -- are used primarily for viewing production dailies and for product quality control by the Company's post-production arm, DKP 70MM Inc.

The building also features an 11,000-square-foot temperature and humidity controlled negative and film storage vault, as well as rooms for full negative cutting, film cleaning and photoguarding services. On premises equipment includes a 30-perf optical printer, scanners, two Avid bays, a Steinbeck and 35mm projection equipment for viewing print down dailies. The Santa Monica office of HLW International LLP designed the building and its interior.

Moving from Culver City is David Keighley Productions 70MM Inc., an award-winning post-production image and quality control facility that is responsible for post-production on 80% of today's large-format films. The Brentwood contingent includes Film Production, Film Marketing, Film Operations, Theatre System Marketing and Sponsorships. New to the Los Angeles offices are support personnel representing Human Resources, Information Systems and Finance.

The office will also house representatives of two Imax subsidiaries: Sonics, which develops, manufactures and installs sound systems for giant-screen IMAX theatres worldwide, and Digital Projection International, a leading developer and manufacturer of projectors used in high-end digital image delivery applications.

Imax Corporation's new Los Angeles office is located at 3003 Exposition Boulevard, Santa Monica, CA 90404. Telephone: 310-255-5500. Fax: 310-255-5501.

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Posted by Brian Michael Weidemann (Member # 2243) on 07-28-2004, 08:53 PM:
 
It seems rather unfair. I've spoken to David Keighley several times, met him a couple ... they're basically right up the street (well, not that close, but quite local nonetheless). Yet we always seem to be the LAST ones to receive prints (along with Ontario and Valencia). Whereas King of Prussia gets theirs a week in advance, we received Harry Potter and Spiderman less than 48 hours respectfully before they opened. A 40 reel movie takes a bit of time to fully assemble and screen (and adding and synching up trailers is even more time!), and we can't do it during a normal business day, unless we cancel shows. This is middle of the night territory, this is.

Enough with this last minute stuff! I want my prints EARLY, darnit! It's all DKP70mm's fault. (And handling post on 80% of the world's large format product is NO EXCUSE! )

quote: James B. Openshaw

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These one frame blotches appear about .5-1 seconds after a splice goes through.

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I'm thinking, if these blotches occur in the same spot every reel, it could have been poor technique during the assembly process. For instance, while splicing, a sharp corner of the table could have scraped an area of film several frames away, relative to the splice. That emulsion can scrape away quite easily ... especially if one isn't paying attention to where the film is dangling when splicing or winding up. Just a thought.
 

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Posted by Bob Brown (Member # 1205) on 07-28-2004, 09:26 PM:
 
Brian, Have you asked Keighley if you could be your own currier?
 

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Posted by Brian Michael Weidemann (Member # 2243) on 07-28-2004, 09:44 PM:
 
No, but that would just be extra work for me, I think. We get our prints sent "Same Day". It's because we're so close that we CAN get our prints same day ... that's the reason we're the last to get 'em. Irvine used to get print #1 or #2 of things. Now we get #49 or #61, or something like that. It makes sense that they'll worry about getting prints across country first and down the street last. I'm just playing up the bitter a bit.
 

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Posted by James B. Openshaw (Member # 1310) on 07-29-2004, 05:32 PM:
 
Brian, first off, I didn't build the print. Second, the way we build the print, the film isn't in a position where it rubs up against any sharp edges of the table when we splice. We build all reels onto 2 60 min. platters and then send them onto the 150 platter.

To clarify, which I apparently didn't do in one of my earlier posts (my apologies for that), I noticed this blotch happened once after that splice I mentioned earlier. I've seen them during other times of the film but I don't know if they followed a splice.
 

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Posted by Will Currie (Member # 2550) on 08-02-2004, 12:19 PM:
 
I've heard from a few people that this weekend had a good amount of sold out shows (NYC for example). Can you guys confirm that attendance seemed better this weekend than last?

Wonder if word of mouth is helping make up for IMAX's lack of PR?
 

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Posted by Gordon McLeod (Member # 33) on 08-02-2004, 12:44 PM:
 
Just a small note I have never had an issue with any film that I have recieved from DKP I have always found there work to be top notch now that other post production group is a different story
 

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Posted by Mark Lensenmayer (Member # 134) on 08-02-2004, 09:24 PM:
 
I saw SPIDERMAN 2 in the local Marcus Imax today. The picture was very crisp and clean. Sound was also very good. There was very little visible grain. Image was very bright and solid.

Not a good day at the Marcus Imax. While walking across the already too dark aisle, the house lights dimmed out (5 minutes before start time). It was impossible to see in the dark, and very uncomfortable, as my wife couldn't see me 2 feet away from her.

ALso, the lamp shut down about 2/3 through the picture. We again sat in the dark for 3-4 minutes, then the house lights came up. After another minute or two, the operator announced that he would try to have the picture fixed in 5 minutes or so. The picture came back one the screen just as predicted and in sync. Nice recovery job by the operator. No passes were offered, nor any management staff apparent in the lobby after the show.

This was a nice experience, but I'm not sure it was worth a $12 ticket.
 

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Posted by Will Currie (Member # 2550) on 08-03-2004, 06:35 AM:
 
Mark,
Sounds like you had a really bad experience there... in the future do you think that you will opt for the DMR showing over the 35mm one?
 

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Posted by Mark Lensenmayer (Member # 134) on 08-03-2004, 09:14 AM:
 
This was my first bad experience after many, many excellent ones at the Marcus Crosswoods Imax. I think it was just a bad day in the booth. Stuff happens, although there were some pretty unhappy audience members who said they would never come to another Imax presentation.

As a long time Imax fan (back to 1974 or 75 when Imax projector #3 went into Cedar Point amusement park) I plan on seeing whatever films they show there, although I've heard that they are planning on pulling out of the Imax business. The Imax room would work nicely as one of their UltraScreen theatres.
 

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Posted by Dan Suomi (Member # 2585) on 08-03-2004, 11:36 AM:
 
I have heard that the Marcus is closing 2 IMAX theatre's. One in Chicago area and the other at Crossroads. I wouldn't be suprised thet they do convert it to an Ultra Screen.
 

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Posted by Darren Briggs (Member # 1071) on 09-04-2004, 06:13 PM:
 
Just seen Spider-Man 2 at the Bradford IMAX here in the UK.
Ive seen other DMR films befroe but Spider-Man 2 was just awesum.
Great sound and the picture was super bright and very sharp. Only a couple of signs of Digital trickery.
Was up in the box the other day when HP3 was screening.
The SR projectors are smart machines to say the least, the changeover is frame perfect and its just great to watch. (Sad i know!)
THe speed of the full plate with Harry Potter3 part 2 on is just frightening on the QTRU. Makes 35mm look like its in slow motion.
If the distributors wont release 5/70 prints at a fraction of the cost of an imax print, i say keep releasing the IMAX DMR ones, they are great, mabe we could have both 5/70 and 15/70 released before regualr 35mm prints.
Good old roadshow days!?

Darren
 

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