• "Seed of Chucky"
  "Van Helsing"
  "Shall We Dance"
  "King Arthur"
  "Stepford Wives, The"
  "I, Robot'"

Note: Reel 1 is in B&W (reel 1 is 9 minutes long), and you have on some reels those chapter fade-outs and fade-ins like the first film at some of the reel changes. And those sound tones are here again like the first film.
The end credits are very long from the first name to the blooper scene at the very end. The credits run just over 12 minutes.
NOTE IN CAN FROM TES.
Please note REEL ONE of this print of KILL BILL VOL.2 is printed on B&W film stock with a color trailer print of "HERO" attacted.
Due to increased heat absorption, you may need to adjust focus at the changeover or transition to Reel 2.

Also, there is an audible beep 205 feet into Reel 2. This is intentional and should not be cause for concern.

Thank you for your attention to this matter.

Miramax Films

[ 04-12-2004, 11:14 AM: Message edited by: Bill Gabel ]
 

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Posted by John Pytlak (Member # 331) on 03-30-2004, 03:58 PM:
 
If Reel 1 is indeed silver-image B&W, you may need to refocus between the B&W and color section because the silver image B&W will absorb more heat during projection. Most likely to see a difference at high power levels and with shorter focal length lenses.

It's very important to use proper heat filtration (dichroic mirror or filter) and not "hot spot" the lamp with B&W silver image film. A large lamp that is focused to a "hot spot" can literally burn or blister the film.

Here is information about heat damage issues:

http://www.kodak.com/US/en/motion/newsletters/pytlak/fall97.shtml

http://www.kodak.com/US/en/motion/newsletters/pytlak/winter97.shtml

http://www.film-tech.com/manuals/H5033.pdf

http://www.film-tech.com/manuals/H5034.pdf
 

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Posted by Peter Kerchinsky (Member # 1098) on 03-31-2004, 05:04 AM:
 
I built a print tonight for a "press" screening Wednesday and it came on 9 reels, not 8 as previously stated. The first reel is indeed B&W and I had one hell of a time on certain reels trying to find frame lines with the fade outs and fade ins.
Also we did not get any trailers or DTS discs with the print.
I think, not too sure, but the cans said print 0010.
And, of course, some reels were heads up and some tails out. Whjat else is new with TES.
 

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Posted by Christopher Seo (Member # 7) on 03-31-2004, 05:07 PM:
 

quote:

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Scope 2.40 (print digital created from 3 pref neg)

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quote:

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Does this mean it was shot in Super35?

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quote:

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Tarantino always visualized Kill Bill as a widescreen (2.4:1 aspect ratio) movie. Richardson prefers shooting in anamorphic format, because of the degradation of image quality inherent to the optical extraction required by the Super 35 format.

“Casino was the only film I’ve shot in Super 35 format,” he says, “and I was terribly disappointed with the release print quality. It was devastating to me. Quentin had a similar experience with Reservoir Dogs. Films stocks and lenses have improved, but there is still a chasm (separating the Super 35 and anamorphic formats).”

The problem was that Tarantino had written specific “zoom” lens shots into the script. Richardson felt that the anamorphic zoom lenses available from Panavision didn’t provide a fast enough T-stop to properly execute those shots. That drove the decision to use a digital intermediate process. That approach enabled Richardson to shoot with spherical lenses in Super 35 format and “squeeze” the images into a 2.4:1 aspect ratio during digital mastering. Basically, the edited cut of the negative is scanned and converted to digital files. The images are timed for shot-to-shot and scene-to-scene continuity in a digital suite, and then recorded out to an intermediate film used as a master for release printing. It’s a familiar tactic for Richardson, who has shot many commercials that have been converted to digital format and manipulated in telecine suites. However, this is his first experience with a “film-out” from a digital intermediate.

He suggested shooting Kill Bill in three-perforation 35mm format. That trimmed film and lab costs by 25 percent. Richardson explains that essentially covered costs for the digital intermediate process. There is no downside, since the digital files can be recorded out to a four-perf 35mm color intermediate film with no loss of picture quality.

Front-end processing and release printing were slated for Technicolor Labs, in Los Angeles. Tarantino agreed with Richardson’s suggestion about creating and timing a digital file at Technique, the lab’s subsidiary in the Los Angeles area.

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