This is topic Terry Gilliam's "BRAZIL" 1985, directors cut (request) in forum Feature Info, Trailer Attachments & REAL Credit Offsets at Film-Tech Forum ARCHIVE.


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Posted by Mitchell Dvoskin (Member # 751) on 05-01-2006, 02:47 PM:
 
Does anyone know if the print of Terry Gilliam's Brazil struck in the last year or so is a cyan track print?

We are going to be running this at the Loews Jersey, but at present time we have not upgraded to red led, as 99.9% of what we run is classic films.

[ 05-02-2006, 12:42 AM: Message edited by: Dan Lyons ]
 

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Posted by Stephen Furley (Member # 1277) on 05-01-2006, 03:40 PM:
 
Mitchell, I don't know for certain, but I think it's unlikely to be cyan unless it was a fairly wide re-release, with a large number of prints struck, as a new track negative would be needed. Most of the prints I'm running are still not cyan, even those which are of mainstream titles, and with prints made in the USA, so the labs are obviously still equipped for track re-development. I doubt that the recording of a new track negative would be thought justified for just a few prints.

Most of the cyan tracks I've run, about twenty now, have been printed by French labs; not necessarily of French films. They seem to be much further down the cyan (brick?) road than US or British labs.

Can't you ask the distributors what type of track it has; or do they employ staff who wouldn't know the difference?

Recently, I've seen an increase in the number of fairly recent films with conventional, i.e. not even high magenta, tracks; I don't know why. I haven't seen any re-prints, or even re-releases with cyan tracks.

Late last year about one 'new' i.e. a few months old, film in three was coming in with a cyan track, but this actually seems to have decreased recently.

I'll be visiting both the Loew's and the Lafayette next month; hope to see you then.

By the way, part of this film was shot in the control room of Croydon 'B' power station, about five minutes by tram from where I work. It had a fairly short life, being built in the '50s, and closing in the early '80s. The site is now an Ikea store, and all that remains are the two chimneys, which is a pity, as it had some rather fine brickwork. I think it was more worthy of preservation than two London power stations which still exist; Bankside, which is now the Tate Modern art gallery, and Battersea, which has been a roofless shell for many years, with various schemes to turn it into something coming to nothing.

There are some pictures of Croydon 'B' here The railway was little used, and closed to be converted into a branch of the Croydon Tramlink system, which opened six years ago, and carries far more passengers than the old railway ever did. The gasholder is still there, and a small, 49MW, gas turbine power station has been built next to it.
 

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Posted by Dan Lyons (Member # 1454) on 05-01-2006, 04:23 PM:
 
I've never encountered or heard of any new repertory prints that are cyan.
I ran the new print of Brazil a last year. From what I remember, it was a little dirty, some wear, and had been cut.

Big issue was that the last 5 minutes of one of the reels was missing and had been replaced with beat to hell acetate footage.

I'll have to see if I wrote down the print number in my notes later tonight, in case they struck more than one new print.
 

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Posted by Monte L Fullmer (Member # 2797) on 05-01-2006, 10:59 PM:
 
..being a Universal release, a cyan could be possible with this re-release version.

..and it's 137m,Dolby "A" type and flat - I ran the original back in 1985.

They could have done the digital with this re-release version.
 

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Posted by Dan Lyons (Member # 1454) on 05-02-2006, 12:39 AM:
 
As I said before, I ran the one (and probably only) new "vault print" last year.

7 reels long, all polyester except a section at the end of one of the middle reels that had been replaced with beat to hell acetate.
Standard silver based optical track.

Couldn't find a print number in my notes, perhaps it didn't have one. Occasionally I've had "one-off" new studio prints come with only the title on the can.
 

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Posted by John Pytlak (Member # 331) on 05-02-2006, 08:50 AM:
 
Generally, if the sound negative was optimized for a conventional silver+dye soundtrack, any prints made from that negative will continue to be silver+dye:

http://www.kodak.com/US/en/motion/support/cyan/faq.jhtml?id=0.1.4.15.8.4.10&lc=en

quote:

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Can I use the same soundtrack negative to print standard silver, high magenta, and cyan dye print soundtracks?

No specific recommendations have been offered with regard to soundtrack negative density, although the optimum negative density for both the high magenta and cyan dye formats will typically be higher than that used for traditional silver plus dye prints. As always, optimum negative density should be determined for any print format using the cross-modulation test.

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quote:

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What are the implications for archival film elements stored in preservation vaults?

Black and white prints (with silver tracks of various formats including variable-area and variable-density types) have been reproduced in tests using red LED sound readers with excellent quality, indistinguishable from that produced by white-light readers. Color prints with redeveloped silver-plus-dye sound tracks may experience a little distortion when reproduced with red LED readers, as is the case with current release prints with reveloped silver-plus-dye sound tracks (hence the reason for introducing the compatible High Magenta sound track format). The printing of archived sound negatives, intended for making redeveloped silver-plus-dye sound tracks, to produce cyan dye sound tracks, is currently being evaluated and will be reported on to the Dye Track Committee in due course. It is anticipated that some film processing laboratories will retain the facility to print redeveloped silver-plus-dye sound tracks for some time, to provide this service for film preservation clients.

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