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Posted by Michael Coate (Member # 757) on 06-09-2007, 09:09 PM:
 
The following films are scheduled to be screened in 70mm at the Paramount Theatre in Austin, TX.

TRON Aug. 24 & 25
SOUTH PACIFIC Aug. 25 & 26
TITANIC Aug. 28 & 29
LAWRENCE OF ARABIA Aug. 30 & 31
CLEOPATRA Sep. 1 & 2

Associated links:
Paramount Theatre
in70mm.com

In Los Angeles at the Aero Theatre:
TRON* June 17
LAWRENCE OF ARABIA June 23

*double feature with "Star Trek II: The Wrath Of Khan" (35mm) plus a Q&A with "Tron" director Steven Lisberger, visual effects supervisors Harrison Ellenshaw & Richard Taylor and "Khan" director Nicholas Meyer.

Plus, in Los Angeles (at UCLA) on June 21, there's Bill Bennett, ASC's recently-shot 70mm demonstration film.
 

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Posted by Mark Gulbrandsen (Member # 72) on 06-09-2007, 09:28 PM:
 
That whole Bill Bennett thing is certainly nothing but a bunch of hype. This has been done in past years and with 65mm as well as other formats in 35mm and at differing speeds. People try to take credit for reviving or creating a new format and what ever it is they try it already exists. In this case what they've done would still not be nearly as good as Todd-AO 30fps would be shot with the same present film stocks. Anyone in this industry with 10 cents worth of knowledge already knows that 65mm origination is far superior. Those that don't know merely need attend a screening of Lawrence Of Arabia or some other restored 70mm film.

Also the decline in theatrical imaging is in no way related to how they are shot or that they are all done today in 35mm. Todays 35mm if taken right from the camera neg looks literally stunning to say the least. What Bill Bennett needs to do to effect some good in this industry is to spend time getting the labs to clean up their act. Sadly, if he was sucessful at bringing back 65mm origination the labs would ruin that too. The 65mm originated film "Far And Away" was nothing to write home about as it was several generations removed from the camera neg. Other than several limited art films there has not been a mainstream film originated in that format since Far And Away because the general public couldn't tell the difference. If there is another done in that format on a large scale where are they going to show it.. who would run it? The end result would be mainstream 35mm reduction prints shown by kids in todays multiplex's. You'd be right back where you started!

Mark
 

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Posted by Tim Reed (Member # 137) on 06-09-2007, 10:31 PM:
 
Thanks, Michael! Dang, I wish I could see some of those shows.
 

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Posted by Monte L Fullmer (Member # 2797) on 06-09-2007, 10:57 PM:
 
Yes, seeing "TRON" in 70mm was an excellent treat to experience..

Dang, just too bad, even though this topic has been beaten to death, only to be revived time after time after time, then beaten to death again....that 70mm film releases needs to come back to the mainstream theatres - just for the sheer magic of it all..

Forget about IMAX (even though it's 70mm, just not shown in the classic way as we know it..), and forget about DCinema. Just the classic 5/70 presentations what the magic of the motion picture exhibition is all about...

-Monte
 

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Posted by Geoff Jones (Member # 3668) on 06-10-2007, 02:32 AM:
 
Seems to me the best way to try to make that happen is to support these screenings as much as possible, especially by spreading the word (bravo Michael) and in person whenever we can...
...he said hopefully.

Geoff "Doing my Best" Jones
Aero Screenings

Paramount Screenings
 

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Posted by Emma Tomiak (Member # 1862) on 06-10-2007, 03:11 AM:
 
I got to see the screening of Lawrence of Arabia last summer at the Paramount. It was beautiful! John did an excellent job in the booth. I plan on trying to make it down to Austin to see at least a couple of shows this summer.

Anyone from around north Texas up for a road trip?
 

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Posted by Louis Bornwasser (Member # 3063) on 06-10-2007, 08:56 AM:
 
"Far & Away" was pretty bad.....until the land rush scenes....Bruce Surtees, Jr. Every bit as good as Lawrence.

We ran F&A in a newly revamped (new screen and frame, new JJ, new lenses) 1000 seat auditorium, now regrettable closed. 70mm image was 70 feet at 28+ ft/lambert possible. Louis
 

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Posted by Bobby Henderson (Member # 840) on 06-10-2007, 12:55 PM:
 

quote: Emma Tomiak

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Anyone from around north Texas up for a road trip?

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Lawrence of Arabia is pretty tempting to make the drive down to Austin. Does anyone know if this is a 70mm DTS print or one from the previous 70mm Dolby SR mag generation?

Tron is another one I'd really like to see, mainly because I've never seen it in 70mm before.
 

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Posted by Christopher Seo (Member # 7) on 06-10-2007, 03:03 PM:
 
Bobby, the most recent batch (circa 2002, AFAIK) of 70mm "Lawrence" prints included both DTS and SR mag. In fact, the best-condition print I have run is mag.

I should also mention that the Aero will be running "Vertigo" in 70mm DTS sometime in August. Check www.aerotheatre.com in the next month or so for the exact date.
 

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Posted by Ben Wales (Member # 92) on 06-10-2007, 04:46 PM:
 
Looks interesting, wished I could make it to the Paramount Theatre, looks a interesting place. Anyone know what 35/70mm Projectors they have installed?.

How may people are planning to make it to these screenings?, I did think about over the weekend, but the Flight costs from the UK to the US are expensive for that month .
 

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Posted by Ramon Lamarca Marques (Member # 3621) on 06-10-2007, 05:37 PM:
 

quote: Mark Gulbrandsen

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That whole Bill Bennett thing is certainly nothing but a bunch of hype

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quote: Louis Bornwasser

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"Far & Away" was pretty bad.....until the land rush scenes....Bruce Surtees, Jr. Every bit as good as Lawrence.

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Absolutely, those scenes showed perfectly what 65/70 can do, amazing I prefer 1000 times a 65/70 on a curved large screen on a conventional cinema than any IMAX blow up from 35mm.
 

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Posted by Paul Linfesty (Member # 214) on 06-10-2007, 05:47 PM:
 
I could be wrong, but I thought I had read soemhere that those land rush scenes were shot with new VistaVision cameras.
 

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Posted by Caleb Johnstone-Cowan (Member # 3710) on 06-10-2007, 05:47 PM:
 
Did anyone go to the Alien and Aliens screenings in 70mm last weekend at the BFI IMAX? I really wanted to but wasn't going to sit alone for that long in the cinema.
 

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Posted by Mark Gulbrandsen (Member # 72) on 06-10-2007, 07:06 PM:
 

quote: Paul Linfesty

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I could be wrong, but I thought I had read soemhere that those land rush scenes were shot with new VistaVision cameras.

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quote: Mark Gulbrandsen

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That whole Bill Bennett thing is certainly nothing but a bunch of hype. This has been done in past years and with 65mm as well as other formats in 35mm and at differing speeds.

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quote: Mark Gulbrandsen

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People try to take credit for reviving or creating a new format and what ever it is they try it already exists.

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quote:

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4K Projection of 65mm and 35mm Footage
by Staff

Kees Van Oostrum, ASC, and Bill Bennett, ASC will be hosting an interesting event at UCLA next week: a 4K projection demo of 65mm and 35mm footage.

This demonstration is designed to explore the possibilities for improving image quality to maximize the movie-going experience. It is based on practical experiences of Oostrum, who directed and shot We Fight To Be Free, which recently opened at the Mt. Vernon Visitors Center in Virginia, and Bennett, who directed and shot a test conceived by ARRI. Scenes were shot in 65mm 5-perf, anamorphic 35mm, and Super 35mm spherical, and then combined through digital intermediate postproduction.

The 65mm negative was scanned at 8K resolution and down-sampled to blend with the 35mm scanned at 6K in a 4K DI workflow.

The demonstration will include state-of-the-art 4K digital projection of a direct comparison of the same scenes shot in all three formats. We will also show a first generation 35mm contact print made from an internegative created with an Arrilaser recorder of the same source material. You will also see something shown only once before: a "zero generation" print recorded directly onto 35mm release print stock in the Arrilaser.

The final demonstration is not to be missed: a 70mm contact print made from the original 65mm camera negative will be projected. This is an opportunity to see "how good it can get" and discuss the possibilities for a new golden age of cinema.

WHEN: Thursday, June 21 at 7:00 p.m.
WHERE: James Bridges Theatre, UCLA,
Park in Structure 3 (Enter off Hilgard Ave, at the Wyton Dr. entrance)

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'Napoléon,' the man and mostly the myth

Abel Gance's restored 1927 epic shows the French commander and emperor as the greatest of heroes. The film is screening at the Los Angeles County Museum of Art.

By Kevin Thomas
Special to The Times
July 11, 2007

To mark Bastille Day, the Los Angeles County Museum of Art will screen Abel Gance's legendary 1927 epic "Napoléon," which has rarely been shown publicly since its 1981 restoration by film historian Kevin Brownlow, complete with tinted sequences, and presented by Francis Ford Coppola with a score composed by Coppola's late father, Carmine, that is as glorious as the silent classic is itself. (Brownlow also completed a five-hour version in 2004.)

On Friday and Saturday at 7:30 p.m., LACMA will be screening the splendid print struck by Universal in 70 millimeter in the early 1980s, for which Carmine Coppola's orchestral score was recorded in stereo and transferred to the print.

This two-part, amazingly fast-moving and swiftly engaging 235-minute reconstruction premiered in 1980 at Radio City Music Hall with much fanfare, and soon after that at the Shrine Auditorium in L.A. Gance, who had traveled to the 1979 Telluride Film Festival for a work-in-progress presentation, complete with its famous triptych concluding sequence, was able to hear the ovations accorded "Napoléon" in New York over the phone from his apartment in Paris, where he died in November, 1981, at 92.

"Napoléon" is history as an action-filled pageant, filled with as many cliffhanging flourishes as a serial, relieved from time to time with scenes of intimacy and humor. Gance was as natural and energetic a storyteller in the silent screen medium as Cecil B. DeMille — and could stage an orgy with similar zest. His visual flair remains awesome and richly varied. He staged complex battle scenes with ease yet could create images as richly textured as those of Josef von Sternberg.

Yet more than anything else, Gance is engaged in mythmaking in regard to his treatment of Napoleon — as much as Leni Riefenstahl would be several years later with Adolf Hitler in her eternally controversial "Triumph of the Will." Indeed, "Napoléon" would seem the very embodiment of John Ford's famous command, "Print the legend," yet Ford's heroes were often far more complex than Gance's unflappable Bonaparte.

The film covers Napoleon's youth through his siege of Italy in 1796, and Gance was never able to complete Bonaparte's story, as he had intended. In any event, Napoleon, with his dream of a unified Europe, is depicted as the greatest of heroes, a man of stupendous vision and courage and seeming faultlessness.

"In this film," wrote Gance, "I neither judged nor prejudged what was to happen to Napoleon after Italy.... I might have become one of his detractors. My Bonaparte was in that long line of republican idealists of which Christ was the first example."

Gance's Bonaparte is played with appropriate stoicism by jut-jawed, hawk-nosed, diminutive Albert Dieudonné, blessed with an all-important piercing gaze.

It is fortunate that Gance spends 25 minutes depicting the youthful Napoleon's character-forming, destiny-determining experiences at a French military academy, where he endured much abuse as a fiercely proud native of Corsica, dismissed by a professor as "a half-savage island." (There's a dormitory scene that surely inspired Jean Vigo's "Zero for Conduct.") The adult Napoleon is unvaryingly sober, insubordinate and unstoppable in his rise in the military through the tumult of the French Revolution and its savage aftermath — which he found deplorable in its excesses — to become in his own mind, France itself. Talk about the ultimate revenge.

It would seem that his sole distraction — and one that would ensure his career-making command of the invasion of Italy — was Joséphine de Beauharnais (a lush, Junoesque Gina Manès), a divorced viscountess with two children and a reputation for being able "to seduce even the most virtuous." Once the two met, Josephine, realizing her lover, who happened to be Napoleon's commander-in-chief, was tiring of her, agreed to marry Bonaparte if he in turn were given command of the Italian campaign — a deal apparently unknown to Napoleon.

The emperor-to-be's awkward, impassioned courtship of the sophisticated, somewhat older Josephine allows for the film's most charming and amusing sequence. It leads to a stunningly revealing moment, when, envisioning Josephine's smiling face on a globe, Napoleon kisses it; clearly, conquering Josephine and the world were one and the same to Napoleon.

The roughly 20-minute triptych sequences, for which the screen image greatly expands, covers the invasion of Italy over the Alps in a format that symbolizes Napoleon's dream of a unified Europe.

Toward the end of the three sepia-tinged sequences, the left image turns a tinted blue, the right image, a tinted red, embodying visually just what Napoleon intends for Europe. It's an undeniably dramatic, highly portentous effect, but one requiring Gance's three-projector Polyvision process that ultimately doomed "Napoléon" to its long undeserved obscurity, with Gance, in between other films, driven to reworking — yet perversely ever-diminishing — his cherished epic in various forms as late as 1970.

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quote: Thomas Hauerslev

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Hi everyone, 2007 program now posted here: http://www.in70mm.com/festival. 70mm extravaganza on the curved Schauburg Cinerama screen. This is the best opportunity to see 70mm and 6-track magnetic stereo as it was meant to be seen.

Best from Thomas
www.in70mm.com

5 October

"Taras Bulba" (122 min). 12:00 – 14:02. Original English version 70mm blow up print with 6-channel magnetic sound.

"Imperial Venus" (140 min). 14:30 – 16:50. Vintage German in Super Technirama 70 with 6-track magnetic stereo.

"Pathfinder" (86 min). 17:15 – 18:41. Vintage Norwegian 70mm blow up print with 6-channel magnetic sound and English subtitles.

“Khartoum” (134 min). 19:30 – 21:44 + intermission (22:00). Vintage German rectified Ultra Panavision 70 print with 6-track magnetic stereo

6 October

"The King and I" (133 min) 10:00 – 12:13 + intermission (12:28). Vintage English Grandeur 70 print with 6-track magnetic stereo

“Ben Hur” (212 min) 12:45 – 16:17 + intermission (16:32). Vintage German Camera 65 print with 6-track magnetic stereo

"Uncle Toms Cabin" (125 min) 17:00 – 19:05. Vintage German MCS-70 Superpanorama print with 6-track magnetic stereo

"Ice Station Zebra" (148 min) 20:00 – 22:28 + intermission (22:43). Vintage German Super Panavision 70 print with 6-track magnetic stereo

"Pink Floyd The Wall" (95 min) 23:00 – 00:35. Original English version 70mm blow up print with 6-channel magnetic sound.

7 October

10:00 – 10:30 "The Wonderful World of Film Formats" hand made lecture by Thomas Hauerslev

10:30 – 11:00 Demonstration: Digital State of the Art – incl. „As Good as it Gets“ in digital and 70mm

11:30 - 12:00 Restoration of “Play Time” Lecture by Monsieur Jean-Rene FAILLOT

“Play Time" (126 min). 12:30 – 14:36.

“El Cid” (182 min) 15:30 – 18:32 + intermission (18:45). Vintage German in Super Technirama 70 with 6-track magnetic stereo.

"The Wild Bunch" (134 min) 19:30 – 21:44. Vintage German original 70mm blow up print with 6-channel magnetic sound.

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quote: Paul Linfesty

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It (The Wild Bunch)also plays in 70mm at the Aero Theate in Santa Monica, CA at 7:30pm, part of a 5 film 70mm series that includes Pink Floyd-the Wall (a "slightly" faded print, according to their notes) as well as LOA, 2001, and Baraka. Other 70mm showing in L.A. is South Pacific at the LACMA Bing Theatre (Sound of Music was listed as a 70mm showing here, but the 70mm notation has dropped off the prgram list in recent weeks).

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quote: Brad Miller

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I will probably be flamed for this, but fact of the matter is that with advances in filmstocks over the years, in many cases the 70mm print will not give a better presentation

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Well that may seam that way,but it's kind of "Steam Railways" for the Cinema world, old, but with class.

I have viewed through some well worn, some in Grey Scale 70mm prints that had seen better days, but people do seek out 70mm screenings and does not deter them and if you try to flog them of with Digi stuff - they just won't come
 

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Posted by Geoff Jones (Member # 3668) on 11-10-2007, 07:08 PM:
 
One of the attractions to me is that any theatre that is bothering to show something in 70MM is likely to give a damn about the presentation. (That doesn't automatically mean that a 35mm house doesn't give a damn... but an awful lot sure don't.)

Also, isn't the larger film stock able to handle more light when projected on really giant screens? And more inherently steady, due to its larger size? And isn't any dirt on the film going to appear a little smaller, because it isn't being magnified as much? (I'm not projectionist, and welcome any professional efforts to set me straight on these details!)

Ultimately, I like to support 70MM presentations because of the (likely vain) hope that supporting them will lead to more 70MM releases.


 

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Posted by Louis Bornwasser (Member # 3063) on 11-11-2007, 10:05 AM:
 
Geoff: in general I agree with you about 70mm; this is not to say that MANY releases in 70 were actually inferior to the 35mm release. Superman II comes to mind.

Remember the quality of 70mm many times was primarily related to the fact that 1. it had stereo and 2. the print was struck off of the camera neg in many cases wearing out the original neg. Louis
 

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Posted by Mark Gulbrandsen (Member # 72) on 11-11-2007, 12:31 PM:
 
I have a feeling that many of these 70mm films will never be re-struck when they hit the trash bin and will just be scanned at 4K to be shown on that system in digital. So enjoy em while you can! From the suits point of view it just isn't worth the cost when the digital scan itself will never wear out.

I just checked the link to the listings.... how pathetic! Only two of them were 100% lensed in 65mm. Wasn't the Top Gun aerial stuff done in either Techniscope or Super 35 because the anamorphic lenses were too heavy to fly at those G forces? Titanic was all Super 35. The ad makes it sound like they all were shot in 65mm... From the ad... "Shot on film twice the size of a typical 35MM motion picture, these super high-resolution films are known for their amazing clarity and detail on the big screen."

Come on boys at least mark the 35 blow-ups as such! And if you're going to stick to what it says in your ad there are still a number of other true 65mm to 70mm films available.


Mark
 

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Posted by Steve Guttag (Member # 268) on 11-11-2007, 07:58 PM:
 
Actually, those that 70mm features shot on 65mm...they do indeed keep 70mm prints, period. 4K digital does not equal 70mm in resolution...in fact it only equals 1.85 35mm in the sense of resolution.

The other falicy is that storing digitally somehow keeps the image perfect forever...when in fact digital is showing itself to be a poor archival medium with both data loss but also changing storage methods obsoleting older ones. There is a booming business in Hollywood now to transfer digitally shot movies/effect to film for storage. Film represents a storage medium that most archivists believe they can keep for 1000-years or more...I admit it is a bold prediction considering how film has been treated in its first 100 years but this is what places like the Library of Congress state (I know, cuz I've heard them say it myself). I'm also happy to say that we are installing 70mm projectors into the new Library of Congress facility in Culpeper, VA in addition to Nitrate rated 35/16 projectors.

Steve
 

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Posted by Michael Coate (Member # 757) on 11-12-2007, 02:23 PM:
 

quote: Mark Gulbrandsen

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I just checked the link to the listings.... how pathetic! Only two of them were 100% lensed in 65mm.

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quote: Mark Gulbrandsen

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Wasn't the Top Gun aerial stuff done in either Techniscope or Super 35 because the anamorphic lenses were too heavy to fly at those G forces?

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According to American Cinematographer's coverage of the film published around the time of its release, the entire movie was shot in Super-35.
 

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Posted by Blaine Young (Member # 3992) on 11-12-2007, 03:41 PM:
 
I've been wondering about the screening of Titanic. I thought I read somewhere that all of the 70mm prints for that had been played to death and there only a handful to begin with.
 

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Posted by Brad Miller (Member # 2) on 11-12-2007, 04:31 PM:
 
There were 14 prints made, 10 of which played in the US. By the end of the run my print at the GCC Northpark was still 100% flawless. That and two others (one from Denver and one from LA) were also saved. The other 7 were totally trashed according to Paramount.

Joe Redifer screened the print from Denver and said it wasn't very good. The LA print is missing reel 1 and has wear on it.

My print left the Northpark in flawless condition, as I screened the final performance in it's entirety and was the one to break it down. I played that print again after it had a one week engagement at the Fox theater in Atlanta, where they so nicely put some light scratches on it and the reel changes had handling cinch marks on them. (Thanks guys...I played it for 6 months and yet you did all of that in one week!)

Since then the Northpark print has been used for most engagements since it is still the best print out there. Unfortunately that reel 1 keeps getting shipped back and forth to mate with the LA print.

You can tell it is my print because at the A/B switch of reel 4 there was an ultrasonic lab splice that some dipwad cut out and spliced back with tape. Also the end of reel 9 another dipwad scratched in Clint Fare cues because the scene was dark. If anyone screens that print, I would be curious to see how beaten up it has become. As I stated before, it left my theater 100% FLAWLESS.
 

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Posted by Sean Weitzel (Member # 244) on 11-13-2007, 01:22 PM:
 
We (bay area residents) had two of the 70mm Titanic prints that were being screened on two of the three screens of the Century 22. I saw the film three times there over the course of a month and sadly, the last screening I attended, at least one of the prints was covered in scratches and vertically jumped throughout. It was hard to determine whether the machine was threaded incorrectly, or the perforations were damaged, but it sure didn't look good at all. I asked the manager about it once i noticed the problem and all he said was "it's the print". Sigh. I later learned that both prints were all but destroyed by the time the engagement ended.

Side note, didn't James Cameron pay out of his pocket to have those prints struck?
 

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Posted by John Walsh (Member # 168) on 11-14-2007, 08:24 AM:
 
If I remember, a 70mm print of Aliens was destroyed on opening night at the Criterion theatre in New York. The owners had just twined the place in time for opening, and probably rushed the job. It was a huge run down 'barn' of a theater when I had seen Alien there before. I remember a bunch of rats running across the stage.

Problem is, too many operators think 70mm is the same as 35mm, only bigger.
 

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Posted by Brad Miller (Member # 2) on 11-14-2007, 10:31 AM:
 
It's not just some operators that think that. It's also some technicians and most corporate personnel.
 

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Posted by Scott Norwood (Member # 30) on 11-14-2007, 10:40 AM:
 
Brad, John, etc.--the differences that I have noted between 70mm and 35mm with respect to operation are as follows:

- mag tracks (need to demag projector and be careful of print storage; different Dolby alignment procedure)
- gate tension is touchy due to mag tracks and varies from print to print
- film runs faster, thus any damage will likely happen faster and affect more footage (vs. 35mm)
- takeup tension is touchy and takeup reel usually needs a little help at startup to avoid film breakage or sprocket damage
- need to remove certain 35mm parts from projector (e.g. 35mm pad roller from JJ upper sprocket) to avoid potential for film damage
- need to re-center lens for 70mm
- need beam-spreader for lamphouse and need to re-align lamp
- prints are more expensive and existing inventories are unlikely to be reprinted in 70mm if damaged; thus, prints need extra-special care

Am I missing anything important? Are there any issues specific to platter operation that need to be addressed?

(If anyone needs to borrow them, I should mention that I have generic loops of Dolby tone and pink noise in 70mm mag that I would loan out to anyone who can use them.)
 

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Posted by Stephen Furley (Member # 1277) on 11-14-2007, 11:27 AM:
 

quote:

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- gate tension is touchy due to mag tracks and varies from print to print

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quote:

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- need to remove certain 35mm parts from projector (e.g. 35mm pad roller from JJ upper sprocket) to avoid potential for film damage

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quote: John Walsh

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If I remember, a 70mm print of Aliens was destroyed on opening night at the Criterion theatre in New York. The owners had just twined the place in time for opening, and probably rushed the job.

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"Aliens" (1986) didn't play at the Criterion. (The Manhattan first-run 70mm bookings were 84th Street Six, Gotham, Orpheum Twin & Warner Twin.)

Maybe you're thinking of one of the other venues mentioned above, or if you're certain the incident occured at the Criterion then perhaps it was "Blade Runner" (1982) or "Die Hard" (1988), both of which had their 70mm prints damaged and received some trade/newspaper coverage.
 

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Posted by Steve Guttag (Member # 268) on 11-14-2007, 01:39 PM:
 
I must admit...to me, 70mm has always just been wider 35mm. It really doesn't need any particularly special care due to its gauge. Mag tracks, be they 8, 16, 35 or 70mm all need to be treated with appropriate care regardless of film size.

As for reels and take up tension...I can assure you, I never had to push start the 70mm reels versus the 35mm reels. Now as for setting clutches...I did not change the settings between 70mm and 35mm if the reel size was the same (22" x 8"). I did lighten the clutch for 20 minute reels or in booths with 6K reels I would adjust the clutch between 6K and 2K reels...more to optimize than that I couldn't find a position where it would work for both (if the 6K reel had 7" or larger hubs).

I've never had 70mm gate tension to be particulary tricky other than when DTS poly prints came on line...they are weaker prints and the width of the film being pinched by the lateral guide rollers could cause the film to buckle a bit and curl in towards the runners.

BTW...The Senator in Baltimore, MD is slated to play Lawrence of Arabia in 70mm starting next Wednesday 11/21/07...it will be in DTS-70.

Steve
 

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Posted by David Stambaugh (Member # 1102) on 11-14-2007, 01:44 PM:
 
Michael: I think I mentioned before that I swear I saw a double-bill at the Edwards Big Newport where the regular feature was 35mm, and they had an evening sneak of "Top Gun" in 70mm (one of those deals where you buy a ticket for one movie, get to see the other one too if you want). I'm absolutely positive that "Top Gun" was shown in 70mm, and whatever the other movie was, it was 35mm. But I can't for the life of me remember what the other movie was. Any idea? Might be another Paramount release.

Anyway there were no visible or audible problems for them to switch from 35mm to 70mm. It was completely seamless as far as the audience could tell.
 

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Posted by Michael Coate (Member # 757) on 11-14-2007, 01:47 PM:
 
Dave: "Blue City"...May 10, 1986.
 

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Posted by David Stambaugh (Member # 1102) on 11-14-2007, 01:59 PM:
 
Hmmm. I don't recognize that title, let alone recall having ever seen it. Maybe it was so bad I've unknowingly expunged it from my memory.
 

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Posted by Mark Lensenmayer (Member # 134) on 01-22-2008, 02:47 PM:
 
70mm Screening

Vertigo

February 14, 2008 -- 7pm

Wexner Center for the Arts, Columbus OH

Bruce Bartoo is the primary operator there, and he always does excellent work. Should be a fine presentation.
 

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Posted by Ron Funderburg (Member # 4561) on 01-24-2008, 01:32 PM:
 
Far and Away list only 65 mm as the film negative and the process was Panavision Super 70 it shown in 70mm (2:20 to 1) and 35mm (2:35 to 1)

Titanic was filmed in superscope 35mm with 70MM blow ups the underwater scenes were filmed in Techniscope!

Gettysburg was filmed flat format 35mm with 1.85 to one and had 70MM blow ups and the aspect ratio was still in the 1.85 so it was pillar boxed in!

The problem with 70MM is there just is not enough demand to make it economical to use for final out put. You don't see any theaters with design that benefits. With that said there is the Orpheum in Okmulgee it can run (and does when they can get the prints) 70MM so there are some small town theaters that can and would still do it if it was around!
 

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Posted by Brian Guckian (Member # 1678) on 01-24-2008, 04:41 PM:
 

quote: Blaine Young

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I've been wondering about the screening of Titanic. I thought I read somewhere that all of the 70mm prints for that had been played to death and there only a handful to begin with.

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Not true - I saw the film in 70mm in Germany in October 2006 and it looked fine. (Must have been the print Brad screened ).

quote: Sean Weitzel

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sadly, the last screening I attended, at least one of the prints was covered in scratches and vertically jumped throughout. It was hard to determine whether the machine was threaded incorrectly, or the perforations were damaged, but it sure didn't look good at all. I asked the manager about it once i noticed the problem and all he said was "it's the print". Sigh. I later learned that both prints were all but destroyed by the time the engagement ended.

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quote: Ron Funderburg

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The problem with 70MM is there just is not enough demand to make it economical to use for final out put.

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quote: Steve Guttag

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I'm also happy to say that we are installing 70mm projectors into the new Library of Congress facility in Culpeper, VA in addition to Nitrate rated 35/16 projectors.

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If Library of Congress protocol permits Steve, it'd be great to see some photos here on Film-Tech when it's all done!
 

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Posted by Steve Guttag (Member # 268) on 01-24-2008, 11:09 PM:
 
Most government facilities that are not open to the general public have restrictions on photography or distribution of photography. It is entirely possible that they have or will have a set of publication photos of the venue though. I know there is a web site that has a picture of the main theatre (and a story of how he got thrown out of the place while taking said picturs!)

Steve
 

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Posted by Brian Guckian (Member # 1678) on 01-25-2008, 03:13 PM:
 
Understood; I guess I was thinking that the projection room may not be as critical as other parts of the building, but as you say perhaps they will have their own stills that they are OK about reproducing.
 

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Posted by Michael Coate (Member # 757) on 01-29-2008, 08:22 AM:
 
Let the 40th anniversary tributes begin! "2001: A Space Odyssey" will be shown at Pacific/ArcLight's CINERAMA DOME on Jan. 30 (that's tomorrow!).

quote: ArcLight website

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AFI 100: 2001: A SPACE ODYSSEY

SPECIAL DOME PRESENTATION IN 70MM WITH SIX TRACK DISCRETE MAGNETIC SOUND

A landmark, science fiction classic--and one of the best films about exploration of the unknown -- '2001: A SPACE ODYSSEY' was released at the height of the space race between the USSR and the US in 1968- the same time as NASA's exploratory Apollo Project with manned Earth-orbiting missions.

'2001' brought in four Academy Award nominations, took home the Oscar for Best Special Effects and ranked HAL 9000 as the 13th villain on AFI's 100 Years…100 Heroes and Villains list and the 15th film on AFI's 100 Years… 100 Movies-10th Anniversary.

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Posted by Richard May (Member # 2627) on 01-29-2008, 12:16 PM:
 
Does the RCMH Christmas show count? The opening film is 70MM 3D. Guess not. It's worth seeing though.
 

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Posted by Ben Wales (Member # 92) on 01-29-2008, 03:54 PM:
 

quote: Brian Guckian

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Not true - I saw the film in 70mm in Germany in October 2006 and it looked fine. (Must have been the print Brad screened

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It was also screened at the last year's Widescreen Film Festival in Bradford and the DTS sounded fantastic as well the print.

I belive that it may be screened in 70mm at the Rex Cinema in Berkamsted in April - well worth checking this out at this Cinema!.
 

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Posted by Brian D. Whitish (Member # 825) on 02-05-2008, 11:17 PM:
 
Sadly I just got back from Seattles Cinerama for a presentation of 2001(My Favorite Movie) at my favorite theatre. There was a union projectionist there till 2 years ago. I wish he was back. The first two reels ran with only surrounds working and bad focus. I went out and got my money back. I was so sad. Thanks AMC!

Brian
 

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Posted by David Stambaugh (Member # 1102) on 02-05-2008, 11:31 PM:
 
Major projection flaws aside, how was the condition of the print in Seattle? I see their web site says "Original Print in 'B' Condition". Seattle Cinerama
 

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Posted by Brian D. Whitish (Member # 825) on 02-05-2008, 11:58 PM:
 
Quite a few minor base side scratches. And when reel 2 started there was a green "spot" on the bottom left. Almost like it got sprocketed. Like I mentioned I left halfway into reel two when it appeared the sound problem was not going to be fixed. It could be given a B grade I suppose. I wonder if it was the same print that played at the Cinerama Dome last week?
Brian
 

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Posted by Mark Ogden (Member # 43) on 02-06-2008, 05:51 PM:
 
I'm curious why an "original print in B condition" was obtained for this run, as the film had at least two and possibly three new 70mm prints struck back in '01. Hope to God they weren't trashed already. Anyone?
 

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Posted by Michael Coate (Member # 757) on 02-06-2008, 06:43 PM:
 
There is some discussion regarding the recent Seattle and Los Angeles screenings of "2001" over at Cinema Treasures on their CINERAMA DOME page. Someone posting under the name of Rizzo seems to have all the details. (I suspect Rizzo may be an alias for one of Pacific's employees.) The discussion appears between the posting dates of Jan. 3 and Feb. 2, with the most detailed post being Rizzo's from Jan. 27, 11:51am.

And while you're there, keep scrolling down and enjoy the Dome's playdate history that I recently posted.
 

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Posted by Mark Gulbrandsen (Member # 72) on 02-06-2008, 08:16 PM:
 
Don't fel bad the print that was in circulation before these were struck had a damagnetized last reel! SOmeone had apparently set a screwdriver or other tool on top of the mag at some point... made a thump every revolution of the platter.

I suspect that only "B" Grade 70mm prints remain in circulation at this point in time. The same is probably true of most other titles as well.

Mark
 

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Posted by Sean Weitzel (Member # 244) on 02-08-2008, 01:02 PM:
 
A few months ago, the Castro in SF ran a 70mm festival. I would have to say that the 70mm titles I saw: Patton, Brainstorm, and Starman were grade A prints. Flawless and beautiful. I've also seen the "Tron" print that was struck about 10 years ago and it remains in very good to excellent condition.
 

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Posted by Scott Norwood (Member # 30) on 02-08-2008, 03:00 PM:
 
I ran Starman in 70mm back in 2004 and believe that it was the same print that Sean saw at the Castro. It was indeed mint and most leaders and tails were uncut. At the time, I was told that it was an archive print. It was from the original release.

I believe that Patton is a recent reissue with a DTS track that requires a DTS special venue system to play properly.

I'm sorry to hear that 2001 was botched at the Seattle Cinerama. I hope that they didn't damage the print there. I saw it in 2001 at the Uptown in DC and it looked and sounded great. I also saw it a year or two later at Coolidge Corner near Boston and it also looked good, although it was not as impressive on the smaller, flat screen.
 

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Posted by Brian Guckian (Member # 1678) on 02-08-2008, 06:45 PM:
 
The Cinema Treasures discussion is interesting as it also brings up the issue of showing 70mm prints on 140 degree Cinerama screens...although people may like the very deep curve, it was not designed for single-strip presentation, hence one gets a lot of image distortion.

Interesting (and very welcome) to see that Seattle realised this and were able to have a second screen designed for regular 70mm and 35mm material.

BTW who does re-sounding for 70mm in the US at the moment?
 

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Posted by Steve Guttag (Member # 268) on 02-08-2008, 08:54 PM:
 
Brian,

The deep curve and 2001 discussions go back forever. The fact remains, the PREMIER for the film was on a deep-curve, Cinerama, screen (The Uptown in DC).

Steve
 

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Posted by Mark Gulbrandsen (Member # 72) on 02-08-2008, 11:20 PM:
 
No one any longer to my knowledge. Mag striping and sounding are done out of the country.

Mark
 

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Posted by Brian Guckian (Member # 1678) on 02-10-2008, 02:42 PM:
 
Thanks Steve, Mark for that information.

I wasn't aware that 2001 had premiered on a true Cinerama screen, so for me that opens up a whole new area of enquiry regarding use of the deep curve.

Also useful to know that sounding must now be done outside the US.
 

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Posted by Steve Guttag (Member # 268) on 02-10-2008, 04:21 PM:
 
I don't think sounding needs to be done outside of the US but striping might. Last I heard there was a facility in CA that could stripe but I can't confirm that. The folks that restored Oklahoma! told me they had it striped in Europe.

Steve
 

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Posted by Bill Gabel (Member # 1105) on 02-11-2008, 04:48 PM:
 
The reason for striping mag outside of the US are rules the EPA has setup.
 

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Posted by Michael Coate (Member # 757) on 02-11-2008, 06:08 PM:
 
I believe AMERICAN FILM & TAPE out of Chatsworth (or Canoga Park), California was/is the last company in the U.S. to handle mag striping.
 

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Posted by Michael Coate (Member # 757) on 02-12-2008, 12:33 AM:
 

quote: Brian Guckian

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I wasn't aware that 2001 had premiered on a true Cinerama screen, so for me that opens up a whole new area of enquiry regarding use of the deep curve.

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quote: Brian Guckian

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I wasn't aware that 2001 had premiered on a true Cinerama screen, so for me that opens up a whole new area of enquiry regarding use of the deep curve.

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quote: Bernard Tonks

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The film ["2001: A Space Odyssey"] however had its first premiere run in normal 70mm at the Empire Theatre, Leicester Square.

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quote: John Sharp's 70mm in London list

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2001: A SPACE ODYSSEY -- May 10, 1968 -- Casino-Cinerama

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quote: Mike's '2001' list

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01 May 1968 ... London, England, UK: Casino Cinerama (47 weeks)

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Posted by Bernard Tonks (Member # 809) on 02-12-2008, 04:04 PM:
 
Michael, you are of course right about 2001 having its premiere run at the Casino-Cinerama. I remember now that it was on at the Empire Theatre during the London release dates, when I showed the film in 35mm at the Classic, Hampstead.

Sorry about that, but it was 40 years ago.
 

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Posted by Mark Lensenmayer (Member # 134) on 02-15-2008, 11:42 AM:
 
Many compliments on the Valentine's Day screening of VERTIGO in 70mm at the Ohio State University Wexner Center. The print was in near perfect condition and was perfectly projected by Bruce Bartoo. There was a surprisingly large crowd for a weeknight (I would guess about 300 or so), and the audience really loved it. Curator Dave Filipi game a brief description of the difference between 35mm & 70mm before the screening began.

The film was shown on a very small screen due to the absolutely horrible design of the movie room at the Wexner (never let an avant-garde architect design YOUR theatre!). The detail was absolutely amazing. My wife could easily see the sharp focus on Jimmy Stewart and the soft focus on Kim Novak.

With the recent troubles at 70mm screenings, it was nice to see this film in the best possible presentation.

For the record, the Wexner Center runs reel to reel on 2 Kinoton projectors that are equipped for 16/35/70 projection. They rarely show a film for more than one or two screenings.
 

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Posted by Tim Reed (Member # 137) on 02-15-2008, 12:59 PM:
 
Most architects have little to no experience designing theatres. You really have to work closely with them to make sure they don't paint you into too many corners.
 

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Posted by Brian Guckian (Member # 1678) on 02-15-2008, 06:33 PM:
 
I've always wondered why that was, given that Cinema is a long-established industry

But great to hear of this excellent screening
 

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Posted by Leo Enticknap (Member # 534) on 02-16-2008, 08:45 AM:
 
New theatres/cinemas don't get built that often. I imagine that during the picture palace boom of the late 20s/early 30s, the multi-screen conversions of the '60s and the multiplex building spate of the '80s, architects that specialised in this sort of building will have sprung up. But how many new cinemas get built, or existing ones renovated so extensively as to require the services of an architect nowadays? One or two in Britain per year at the absolute most, I'd imagine. Certainly when we were opening the York cinema the architects were constantly having to deal with cinema-specific issues they hadn't had to consider with other types of public building. Not surprising, really.
 

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Posted by John Walsh (Member # 168) on 02-18-2008, 11:24 AM:
 
I agree with Tim, but will add that most architects don't want a 'layman's' input on the design. What could a person who works in and around projection rooms know about designing one?
 

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Posted by Stephen Furley (Member # 1277) on 02-18-2008, 01:26 PM:
 
Over the years I'd guess that I've probably been into 50-60 projection rooms, and to be honest, I'd rate the design of most of them as poor, and several as downright dangerous to work in. It's not always the fault of the architect, sometimes elements of the design were imposed by external factors, such as fire regulations, and sometimes the facilities had to be fitted into a difficult existing spaces.

Starting with the early cinemas, around 1910, the space was often very small, I've seen two projectors in a space about six feet by five, access was often difficult, in the worst cases only by ladder, and sometimes out in the rain. By the time of the '30s super cinemas there was generally much more space, but the box was often very high up, leading to a steep projection rake, and a lot of stairs to carry prints, and equipment, up and down. Most of the triplings of the '60s and '70s squeezed in a new projection room for the downstairs screens as cheaply as possible, often with the projectors perched up on a platform. In multi-purpose venues, and conversions of existing buildings to cinemas the projection room seems to have been something of an afterthought. In one case I can think of, near London, the floor is raised about a metre above the entrance doors, with unprotected steps down to each door; I once stepped back and almost fell down the steps when carrying a tower spool full of film. Inadequate height is another common problem, as is poor ventilation.

Well-designed projection rooms really do seem to be the exception rather than the rule.

quote: Mark Lensenmayer

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For the record, the Wexner Center runs reel to reel on 2 Kinoton projectors that are equipped for 16/35/70 projection. They rarely show a film for more than one or two screenings.

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What have they got there? I've never seen a triple gauge projector, at least not for 16/35/70mm, there used to be one for 8/9.5/16mm. Have they got four machines, or the strange double-sided Kinoton things? I've only ever seen these with 35mm on one side, and 16mm on the back, but I can't see any reason why they couldn't build them with a DP-75 on the main side.
 

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Posted by Brian Guckian (Member # 1678) on 02-19-2008, 08:10 AM:
 
Good points re. design issues - would it also be accurate to surmise that there has never been a standard, widely accepted textbook on the subject that architects could refer to?

Of course SMPTE's (excellent) Engineering Guideline EG-18 document has been available in the past, but perhaps it was never known about that much within the broad architectural community? Just thinking aloud.

Re. the 16/35/70mm installation at the Wexner Center, Kinoton have built machines to special order, so perhaps one machine has a 16mm mech built into the non-operating side of the column as you suggest, Stephen.
 

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Posted by Mark Lensenmayer (Member # 134) on 02-19-2008, 08:57 AM:
 
The Wexner Center has 2 film projectors, both with 35/70 on the right side facing the screen and 16mm on the left side facing the screen. They are equipped for 35 & 70mm DTS.
 

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Posted by Brian Guckian (Member # 1678) on 02-19-2008, 06:26 PM:
 
That's the way to do it!

Trying to remember - does the lamphouse slide across for 16mm or are there dual lamphouses?
 

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Posted by Leo Enticknap (Member # 534) on 02-20-2008, 12:55 PM:
 
I think the model number is FP38: it has a single chassis with an FP20 mechanism on one side and an FP18 mechanism on the other. The only one I used had separate lamphouses, though these were replacement units and not Kinoton originals. I presume that the original design would have to use separate lamphouses, because the heat from, say, a 4k xenon would be likely to totally fry a 16mm print. The 16mm lamp in the machine I used was a 500w xenon arc.
 

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Posted by Stephen Furley (Member # 1277) on 02-20-2008, 02:26 PM:
 
I seem to remember that the ones at the Barbican Cinemas were separate lamphouses, but I'm not sure if they're still there. The one at the Rio, Dalston had a periscope type arrangement to divert the light to the 16mm side, with a lever on top to move the first mirror out of the way when running 35mm. I don't know how they coped with the extra distance between lamp and gate. There have been two recent VW adverts shown at independent cinemas in the UK, which have featured a projectionist talking about films with one of these machines, running 16mm, behind him, and part of the other machine also visible on the left. These machines also had the same lamphouse arrangement as the Dalston one. There's also what looks like a QuVis digital server visible at the edge of the frame. I don't know where this was shot, but they need to look at the tension on the feed spool; maybe the 16mm side hasn't actually been used for a long time.

They're strange machines, but they do have a couple of advantages over the current Kinoton 16/35 machines, you can do a direct changeover between gauges on the same machine, and if the main side of the machine is 35/70 you can have a par of machines for all three gauges with just two machines, rather than the four which would otherwise be needed; this can be a considerable advantage in auditoria with a short throw. The 16mm side is not the best of machines, but it does the job. These things are not a great deal larger than a standard FP-20 or 30, but they do need a rather larger port. I've never seen the price of them, but I would imagine they were expensive, though probably less so than separate 16mm and 35mm machines. I have to say that I've only a couple of times seen one of these running 16mm. I recently saw an old brochure for these among some papers at the Clocktower; If it's still there maybe I could scan it.

[ 02-20-2008, 04:09 PM: Message edited by: Stephen Furley ]
 

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Posted by Brian Guckian (Member # 1678) on 02-20-2008, 06:50 PM:
 
Thanks Stephen - most interesting. I'd seen a brochure myself many years ago but only vaguely remember the photos.

Re. your comments Leo I had thought of heat energy issues when asking about single or dual lamphouse, but hadn't thought about wattages higher than 2K (as we know you can put 2K on 16mm if it's properly filtered etc.). But of course if the 35mm side also does 70mm then the wattage would be far higher, so thanks for pointing that out.

The periscope arrangment you mention Stephen would also presumably stop light down too for 16mm. Also, interesting that you say the 16mm mechs you've seen of this type are not the best - I would have presumed they were based on the FP18, which is an excellent design. Intriguing!
 

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Posted by Paul Linfesty (Member # 214) on 02-22-2008, 02:49 PM:
 
Upcoming 70mm L.A. showings in March:

2001: a Space Odyssey March 7-9 at the Egyptian Theatre

Cleopatra March 29 at 2pm at the UCLA Film Archives - Billy Wilder Theatre, Hammer Museum, Westwood. (Too bad they didn't take over the National instead of building a new theatre).

Hello Dolly March 29, 7:30pm at the Aero THeatre, Santa Monica
 

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Posted by Thomas Hauerslev (Member # 566) on 03-06-2008, 02:03 AM:
 
More 70mm in Copenhagen April 25-29

at the Imperial Bio. Largest in Denmark - with 1102 seats
 

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Posted by Mark Gulbrandsen (Member # 72) on 03-06-2008, 07:36 AM:
 

quote: Tim Reed

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Most architects have little to no experience designing theatres. You really have to work closely with them to make sure they don't paint you into too many corners.

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And why does the same chain we do work for seem to get a different architect on each job??? Oh well... When I first moved to Utah I worked on a theater.. 8 plex... and it was the architects first... He had the floors graded absolutely flat... he said he didn't know they should be sloped... aparently not only did he never design a theater but he also had never even been in one... It was too late to do much because the concrete was already poured down in the front of some of the theaters. We conveined an emergency meeting with the two guys that were building the place, the contractor and architect. We finally settled on them sloping the remaining 2/3's of grade up towards the hallway to the allowable ADA specs. This necessitated the contractor raising the roofline of the lobby/booth area another 8 feet. So out of the lobbby you walked uphill to the hallway going down the theater entrances and then down into the theaters... That was the strangest one I ever worked on but we saved the project and the auditoriums more or less resembled what a normal slope would be, the concrete guys did an excellent job too. Recently the theater property and adjoining grocery store was bought and both will be razed to make room for a new hospital.

Mark
 

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Posted by Matthew Bailey (Member # 601) on 03-06-2008, 02:34 PM:
 
Not certain if you've seen it on Yiu Tube,someone screening 70mm print of Oklahoma using a DP70.

click here
 

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Posted by Bobby Henderson (Member # 840) on 03-06-2008, 03:52 PM:
 
Dude. It looks like a mortar round exploded on top of your head!
 

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Posted by Mark Gulbrandsen (Member # 72) on 03-09-2008, 12:15 PM:
 
Bobby... I'm floored... there IS actually a funny side to you...

Mark
 

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Posted by Geoff Jones (Member # 3668) on 03-16-2008, 01:56 PM:
 
The Castro Theatre in San Francisco will be showing Vertigo in 70MM on March 28-30 in honor of the film's 50th anniversary.
 

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Posted by Geoff Jones (Member # 3668) on 04-05-2008, 10:14 AM:
 
2001 shows in 70MM -
April 7-9 at the Egyptian in Los Angeles (EDIT - this was in MARCH - sorry!)
May 9-15 at the Heights in Minnesota.

Vertigo shows in 70MM at the Astor Theatre in Victoria, Australia on July 6th.

Hamlet shows in 70MM at the Astor Theatre on May 21st. I read somewhere that it was also going to be in 70MM at the Virginia Theatre for Roger Ebert's Festival, but I can't find any confirmation.

Spread the word!

Geoff

[ 04-06-2008, 11:23 AM: Message edited by: Geoff Jones ]
 

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Posted by Paul Linfesty (Member # 214) on 04-06-2008, 12:09 AM:
 
Actually, the Egyptian showing has come and gone (it was March 7-9. I attended the March 8 showing. And that print is TRASHED!!!)

However, it will be shown in Los Angeles at the Motion Picture Arts and Sciences Theatre (Samuel Goldwyn) on Friday, APril 25. http://www.oscars.org/events/2001aspaceodyssey/index.html

Edit: Actually, I didn't read it carefully. It's been updated to say the showing is SOLD OUT. (Great bargain if you could have gotten tix...only $5.00!
 

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Posted by Mark Lensenmayer (Member # 134) on 04-13-2008, 08:06 AM:
 
The Wexner Center for the Arts will be showing 2001 in 70mm on July 11 at 7 pm as part of a complete retrospective of all of Kubrick's commercial films.

The Wexner showed previously showed 2001 in 70mm about 5 years ago.

Off topic a bit, they also run an outdoor film series (yes, film, not digital...they put a 35mm projector in a truck!) starting this year on June 19 at dusk with THE MUMMY. Admission (and often popcorn and food!) is free.
 

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Posted by Mark Gulbrandsen (Member # 72) on 04-13-2008, 08:23 AM:
 
If you check the schedule there is nothing 70mm planned for Ebertfest this year but the Virginia is running L.O.A. on May 10 in 70mm.

Mark
 

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Posted by Stephen Furley (Member # 1277) on 04-13-2008, 08:42 AM:
 
Thomas, was that picture of you taken at Bradford? The strange lens in that DP-70 looks like the one they have there. What is that lens?
 

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Posted by Thomas Hauerslev (Member # 566) on 04-13-2008, 12:29 PM:
 
My wife took that image 10-15 years ago at home next to own DP70 and my own D-150 lens. It's homage to the original projectionist dude......


I added to Ray Bans, because Todd-AO is so bright
 

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Posted by Geoff Jones (Member # 3668) on 04-23-2008, 07:27 PM:
 
Superman is showing in 70MM at the Seattle Cinerama in through Thursday.

Their website notes: Film is aged with discoloring.
 

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Posted by Steve Guttag (Member # 268) on 04-24-2008, 10:45 AM:
 
The AFI/Silver is currently playing 2001:A Space Odyssey for 1-week only. I hear it is a 6-track mag print and is the one that seems to have been circulating around as they said they have played this print before.

http://www.afi.com/silver/new/

Steve
 

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Posted by Pete Naples (Member # 761) on 04-24-2008, 10:54 AM:
 
2001: A Space Odyssey is playing at the Filmhouse Edinburgh on 24th May, 2008. Presented in 70mm, 6 track magnetic Dolby SR.
link

I'll be installing a new PanaStereo CSP4600 a fortnight before the screening, it will be feeding a Dolby CP650. The projectors are Phillips DP70s.
 

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Posted by Steve Guttag (Member # 268) on 04-24-2008, 01:20 PM:
 
Okay...all of the 70mm prints I've handles are 6-track...the CSP4600 does indeed provide outputs for Le/Re and NR slots for them too...however...the volume control comes from the CSP1200. You say you have the system hooked up to a CP650 (or are going to)...how do you plan to have Le/Re track with the CP650. Also, if this is multiple changeover, how do you plan to have the CSP4600 follow the CP650's changeover? There are no changeover points on the CSP4600, just that serial port that is supposed to hook up to the CSP1200.

Just curious.

Steve
 

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Posted by Pete Naples (Member # 761) on 04-24-2008, 04:32 PM:
 
There's no Le and Re installed, so they will be mixed to phantom between L-C and R-C.

I am reliably informed that the serial protocols on the CP500 and CP650 are the same, the CSP4600 will talk to the CSP1200, or the CP500 via the serial link, so it should be just fine.
 

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Posted by Steve Guttag (Member # 268) on 04-24-2008, 05:23 PM:
 
I believe you will be in for quite a surprise on that one. I'm not sure of any CP500 installations with the CSP4600...perhaps you do. I do know of a CP650 installation with one and there was a lot of grief getting the two to talk and it WASN'T serially!!!!

However, there are ways of making a contact closure and turning it into a serial command if need be so...ulitmately, there is a solution. Also, I don't think the Dolby processors merely output their status when they change state. They must be queried. For the CP650, it would be "projector=?" <cr><lf> and then you will get a response of "projector=x" where x is the projector number.

The CSP4600s in the installations I've done do not query so something will need to cause one to read the other. I would definately do some testing before the installation date.

If you find there is a problem (and please report back if the CSP4600 has been so updated...I hear there was to be a windows appliction for it that allowed some customization), I have had Extron make some drivers for the IPL stuff...including the CP650 and the CSP1200 (not the CSP4600). A simple box like the IPL T S2 could be used as a go-between to one another. It also would give you Ethernet control too. About all you would need to do is have the IPL S2 generate the appropriate commands for the projector (or fader, if you had Le/Re).

Steve
 

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Posted by Pete Naples (Member # 761) on 04-24-2008, 06:11 PM:
 
Nothing is ever simple and straightforward in this life!

Time will tell.
 

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Posted by Thomas Hauerslev (Member # 566) on 05-07-2008, 05:45 PM:
 
http://www.in70mm.com/now_showing/index.htm

A lot of 70mm film screenings within the next few months, it is almost as if....

Pls., keep them coming

btw., the "Indy 4" in 70mm rumor in Cannes is false. Confirmed not to be true, by my French Connection.
 

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Posted by Mark Lensenmayer (Member # 134) on 08-15-2008, 02:31 PM:
 
A 70mm print of LAWRENCE OF ARABIA will be shown at the Wexner Center for the Arts in Columbus Ohio on October 10, 2008. This is part of a David Lean retrospective.
 

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Posted by Darryl Spicer (Member # 711) on 08-15-2008, 03:15 PM:
 
Has anyone out there seen the trailer for the movie Proud American. It is sort of a documentary on the American life or something like that. Anyway, they say the entire thing was shot in 70mm but will be presented in 35mm and Imax.
 

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Posted by Brian Guckian (Member # 1678) on 08-15-2008, 04:25 PM:
 
70mm returns to Dublin, Ireland, this weekend and the weekend after next, with screenings at the Irish Film Institute of Lawrence of Arabia (Aug 16 & 17) and Vertigo (Aug 30 & 31).

Here's a link (IFI website): The Splendour of 70mm

The venue is equipped with a DP70, with DTS and mag reproduction. If on holidays in the Emerald Isle, check it out!
 

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Posted by Mark Lensenmayer (Member # 134) on 08-15-2008, 06:48 PM:
 
The Proud American

Releasing this September in 35mm and Imax. Shot with 35mm and Imax equipment. I can't find a running time on it. Some Cinemark Imax locations appear to have booked it, according to the BIG MOVIE ZONE.

Some scenes shot in Bentonville, Arkansas (Home of Walmart, a sponsor of the film)
 

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Posted by Geoff Jones (Member # 3668) on 11-23-2008, 04:24 PM:
 
I noticed at the always useful in70MM.com that the Royal Theatre in West L.A. has an awesome 70MM festival next month:
- The Remains of the Day
- Tommy
- Pink Floyd: The Wall
- The Abyss (James Cameron in person Q/A)
- Titanic (James Cameron in person Q/A)
- Aliens (James Cameron in person Q/A)
- Raiders of the Lost Ark
- Gremlins
- Indiana Jones and the Last Crusade
- The Untouchables
- Star Trek II: The Wrath of Khan
- Alien
- 2001: A space Odyssey
- The Hunt for Red October

I'd love to hear about the quality of the prints from anyone who goes.

And if you are there for one of the Cameron films, please ask him if he will please shoot his next film in 70MM.

Cheers,
Geoff
 

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Posted by Steve Guttag (Member # 268) on 11-23-2008, 05:31 PM:
 
Trek II has me curious. I'm unaware of any new prints struck after its 1982 summer release. Those prints were on the "fast-fade" Kodak stock and should be quite pink by now. I have some Trek II test film around somewhere and it definitely has color shifted.

Now films from 1983-on should have decent color still as 1982 was the year that the low-fade print stocks came out...unfortunately, Trek II didn't make the time-line.

Steve
 

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Posted by Paul Mayer (Member # 355) on 11-23-2008, 11:21 PM:
 
Wasn't aware that the Royal even had 70mm capability. Will have to get down there to check it out. Haven't been in SoCal in four years!
 

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Posted by Mark Campbell (Member # 4411) on 11-23-2008, 11:30 PM:
 
I have never seen 70mm at the Royal. Laemmle has always had top-notch presentation at this theatre even though screen size is not the largest. I am sure they will put on a good show. This theater has been hit I am sure by the new nearby Landmark, so hopefully lots of people will turn out to support the festival.
 

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Posted by Paul Linfesty (Member # 214) on 11-24-2008, 12:59 AM:
 

quote: Paul Mayer

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Wasn't aware that the Royal even had 70mm capability

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quote: Steve Guttag

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They can't run 70mm on 2 machines? Most of my clients that have 70mm capability are being told that it is a requirement nowadays.

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Nope, there's barely enough room for the machines as it is.

I can't vouch for where you're at Steve, but over 90% of the theatres I have serviced with 70mm capability have all been platter houses. (I was a tech with RCA Service, and had about 30-40 screens of 70mm and the rest of my 145 screens were 35mm only.)

Off the top of me head I can't recall how wide the Royal's screen is...I think it was only 28 feet wide. (A quick phone call to the chief projectionist backed that up.)

They will have their hands full with that schedule..especially "Titanic", since that will be two full decks of 70mm film.
 

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Posted by Brad Miller (Member # 2) on 11-24-2008, 07:41 PM:
 
Titanic fits quite comfortably on one deck. Remember it is dts, not mag, and it is also polyester base, so the outer diameter isn't as large as you would think.

Please don't run it without a safety ring or a whole hell of a lot of suction cups taped down around its perimeter though! Paramount lost most of their 70mm prints of that title because of that.
 

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Posted by Tony Bandiera Jr (Member # 2365) on 11-24-2008, 08:54 PM:
 
Brad, I don't work for them anymore..thankfully.

Good point about "Titanic" I had forgotten it was in DTS...interesting since last time I was there they didn't have a DTS system...wonder what they'll do for the screening?

I think Paramount better brace themselves to lose another print....they don't have any platter rings in the entire circuit...ruh ro rastro.
 

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Posted by Joe Redifer (Member # 3) on 11-25-2008, 01:45 AM:
 
A shot of Titanic sitting on a platter. Easy!



Guess they don't like keeping records on the xenon in that particular lamphouse.
 

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Posted by John Wilson (Member # 269) on 11-25-2008, 02:25 AM:
 
They'd only warp anyway.
 

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Posted by Steve Guttag (Member # 268) on 11-25-2008, 06:22 AM:
 
Tony,

I don't recall the percentage to 2-projector 70mm s out here...it was a notable portion...at K-B it was a requirement...not so much for changeover...though that was done too...those theatres that warranted 70mm also warranted NEVER losing a show. The 2nd projector, among other things ensured that everything was backed up since all of our venues had platters too (except the MacArthur...it was Carbon-Arc and changeover until we closed it as a single in the fall of 1982).

However, in today's world, what we are hearing from some exhibitors that still have their 70mm machines is that it normally requires a 2-projector system to get the print. Lets face it, most of the 80s/early 90s plexes that had 70mm capability are either closed or have effectively decommissioned their 70mm systems (changed out their CP200, changed out the projector...etc).

Steve
 

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Posted by Tony Bandiera Jr (Member # 2365) on 11-25-2008, 02:33 PM:
 
Joe: Thanks for the pic!

Steve, all of what you said is very true. It is sad that so many of those houses demo'd their 70mm setups. You're lucky that in your area the chains were smart enough to have a second 70mm machine despite the platters. Most of the theatres in my circuit (Syufy and UA) didn't, with the notable exception of the Avco Westwood. All three rooms had 2 70mm machines and the pin matrix automations. I recall doing the setup for "Top Gun", and had the distinct pleasure of trying to get a reel of 70mm up on the spindle while trying to beat the impending changeover. (The projectionist had left the booth and didn't return till after the changeover.) He had cued and programmed the automations to do the changeover , pretty slick. I had gotten that reel threaded and was about to triple-check my loops when the machine started up. Luckily it went well, and I didn't lose any fingers. IIRC, each reel was three shipping reels long.

And quite a few of the 35mm only cinemas that had two machines (and plenty of room in the booth) still either took away or parted out the second machine..stupid. ONE rare exception, a particular cinema had a projectionist who cared, and he would use BOTH machines with the platter, switching off daily.

quote: Steve Guttag

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...those theatres that warranted 70mm also warranted NEVER losing a show.....

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Evidently the bean counters here in So Cal rarely felt that way.

It is something I had noticed a lot..despite allegedly being the "movie capital of the world" (and leave Bollywood out of this for now, please) the attitudes of the exhibitors ranged from mild concern to flat out don't give a shit.
 

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Posted by Mark Lensenmayer (Member # 134) on 11-30-2008, 09:08 AM:
 
The Wexner Center for the Arts in Columbus, OH will be repeating last years successful engagement of VERTIGO on Valentines Day, February 14, 2009. They will be showing a 70mm print.
 

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Posted by Paul Linfesty (Member # 214) on 12-10-2008, 01:03 AM:
 
Laemmle's Royal Theatre in Los Angeles has replaced the 70mm screening of RAIDERS OF THE LOST ARK with a 70mm print of TOP GUN on December 21.
 

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Posted by Brad Miller (Member # 2) on 12-10-2008, 01:41 AM:
 
There is only one 70mm print of Top Gun in the states, per Paramount. I ran it about 10 years ago. It was beaten to shit then, and it probably hasn't gotten any better. Don't bother.
 

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Posted by Tony Bandiera Jr (Member # 2365) on 12-11-2008, 05:36 PM:
 
And it'll be even more beaten after thier hacks get done with it.
 

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Posted by John Wilson (Member # 269) on 06-17-2009, 08:19 PM:
 
Titanic screens in 70mm at The Edge Cinema in Sydney's Blue Mountains June 26, 27 and 28.

The print has been brought back from New Zealand for these screenings. Not sure why it's in NZ, but many prints are now being stored there. Either its cooler climate is the thing or maybe it's somehow cheaper? Either way, at least they're not being junked.
 

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Posted by Mark Lensenmayer (Member # 134) on 02-22-2010, 12:32 PM:
 
Here are 2 US 70mm screenings in March & April, 2010.

Playtime
AFI Silver Theatre
8633 Colesville Road
Silver Spring, MD
March 20, 2010 @ 7:00
March 21, 2010 @ 5:00

http://www.afi.com/silver/new/nowplaying/2010/v7i1/eff10.aspx#playt

Playtime -- Jacques Tati
Wexner Center for the Arts
Ohio State University Campus
Columbus, Ohio
April 29 & 30, 2010 at 7:00 PM

http://wexarts.org/fv/index.php?eventid=4529
 

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Posted by Michael Brown (Member # 890) on 03-03-2010, 12:23 AM:
 
70mm prints for Widescreen Weekend at this years Bradford Film Festival

Fri 26th March - The Battle of The Bulge, Die Hard
Sat 27th March - Alien, 2001:A Space Odyssey, 2010
Mon 29th March - The Blue Lagoon, Quest For Fire (La Guerre Du
Feu), The Hunt for Red October

Bradford Film Festival 2010
 

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Posted by System Notices (Member # 2357) on 05-11-2015, 04:26 PM:
 

It has been 1895 days since the last post.

 

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Posted by Paul Mayer (Member # 355) on 05-11-2015, 04:26 PM:
 
Vertigo in 70mm coming again to the Egyptian Theatre in Hollywood, CA Sunday 24 May 2015 at 7:30pm PDT.
 

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Posted by Bill Brandenstein (Member # 7758) on 05-13-2015, 12:28 PM:
 
2001 returns to the Cinerama Dome tonight at 7:30, in 70mm of course.
 

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Posted by Leo Enticknap (Member # 534) on 05-15-2015, 01:27 PM:
 
The Vertigo, Baraka, West Side Story and Lawrence prints that we seem to get every couple of months or so are now really starting to show their age and mileage, sadly.

I'm hoping that our programmers will mix things up a bit soon and book some of the 70mm DTS titles that don't seem to have been shown much at all recently, e.g. South Pacific, The Bible or Magnificent Men. Even our regulars must be getting bored with these shows. I know I am - I can almost remember the changeover scenes of all the reels of all four movies!
 

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Posted by Daniel Schulz (Member # 1881) on 05-15-2015, 05:02 PM:
 
Grand Prix, The Work and the Glory and Lord Jim are all 70mm DTS titles that are worthy of an audience. And hopefully The Master, Inherent Vice and Interstellar can be added to the rotation.
 

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Posted by Brad Miller (Member # 2) on 05-15-2015, 06:31 PM:
 

quote:

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The Vertigo, Baraka, West Side Story and Lawrence prints that we seem to get every couple of months or so are now really starting to show their age and mileage, sadly.

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quote: Daniel Schulz

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And hopefully The Master, Inherent Vice and Interstellar can be added to the rotation.

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I'm going to risk being flamed here by opining that judged as movies (script, acting, direction, art direction, music etc.), they're all pretentious, plodding, vastly overhyped on their initial release, met a mainly lukewarm critical reception and would probably be quickly and permanently forgotten if it weren't for the 70mm aspect. All of them have some beautiful cinematography, art direction and costumes in places, which is why the large format does them justice. But now that they're in the second run/rep circuit, anybody booking those movies is going to have to accept that the 70mm geeks will show up to see them, but virtually no-one else. Lord Jim is also a tough sell - it never really achieved the "corny but essential classic" status of Lawrence (despite a lot of the same talent being involved), and even its star (Peter O'Toole) admitted that the movie didn't really work. It's not exactly feel-good family matinee fodder, either! South Pacific, The Bible, Magnificent Men, Cleopatra, My Fair Lady and Dr. Dolittle would at least be a draw for the wider public, and apart from occasional outings at places like the Bradford festival, have barely been shown since the launch of their restorations.

As for Brad's observation, just wait until The Hateful Eight appears! Although BLSI are going to be installing the 70mm stuff in the 100 venues that will be showing the prints on their release day, presumably they're not going to be putting their own projectionists in to operate the entire run. Which means that an existing employee of these places, possibly someone with no film handling experience whatsoever (if the venue went digital several years ago and its last proper projectionists have left), is going to be running a 5/70 platter installation, presumably after a one-day crash course.

And after the run is done, there will be dozens of new venues proudly proclaiming that they can now show 70mm, and trying to get their hands on the remaining prints of other titles...
 

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Posted by Brad Miller (Member # 2) on 05-15-2015, 08:49 PM:
 

quote: Leo Enticknap

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Which means that an existing employee of these places, possibly someone with no film handling experience whatsoever (if the venue went digital several years ago and its last proper projectionists have left), is going to be running a 5/70 platter installation, presumably after a one-day crash course.

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That is correct. Quentin's movie will unfortunately almost single-handedly be murdering the future of film and specifically the 70mm format with this release because it's TOO big...such that it will FORCE people even worse than the concession-projectionists of years past to run them. Never in the history of 70mm will so many prints be shredded at the theaters so fast as this one.

I was actually approached about making one final run of platter safety rings. I can't imagine a Tarantino-length 70mm print being run without them, but ultimately my bet is Weinstein will have to understand the need for them and pony up the bucks. Weinstein should also pony up the bucks to have Kelmar make some 70mm cleaners and send out some FilmGuard to prevent wraps and scratches, but again that's a dollar thing.

If I was coordinating it, I would have the installers build the prints and do a test screening before they left each site. It's one thing to ask people, most of which will have never ran any gauge of film before, to keep re-threading, but to ask them to also assemble the 70mm prints? Oh boy. It's not as if Kelmar couldn't make a 70mm clamp to put around the print that had a padlock hole on it so the installer could lock it up and then release the combination to the theater the day prior to the opening.
 

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Posted by Terry Monohan (Member # 8285) on 05-15-2015, 08:59 PM:
 
The Hollywood Theatre (the old Cinerama Theatre in Portland OR) will be showing the VistaVision 70mm blow up of Vertigo on Friday July 17 2015 on a semi curved screen. Let's hope they book more 70mm prints in the future. If It sells out they may book a few more showings.
 

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Posted by Jeffry L. Johnson (Member # 453) on 06-15-2015, 11:42 AM:
 
Wexner Center in Columbus, Ohio, will screen a 70mm restored road show print of It's a Mad, Mad, Mad, Mad World on July 10-11.

And screen Tron on August 28-29.
 

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Posted by Mitchell Dvoskin (Member # 751) on 06-15-2015, 12:43 PM:
 
> will screen a 70mm restored road show print of It's a Mad, Mad, Mad, Mad World

Unlikely, as no 70mm prints were ever struck of the supposedly restored "road show" edition. Original "road show" prints, if any still existed, would be faded and have a non-linear anamorphic squeeze to allow for the deeply curved Cinerama screen. The 70mm print that is currently circulating is a 70mm blowup of the regular 35mm version with the intermission re-inserted along with the intermission radio calls.
 

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Posted by Steve Guttag (Member # 268) on 06-15-2015, 01:09 PM:
 
Are you sure on that one? The AFI has shown, at least twice, a relatively newly struck UP70 version of the movie. I can't claim that it is a roadshow cut of the movie but I don't think it is a blow up either.

-Steve
 

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Posted by Mitchell Dvoskin (Member # 751) on 06-15-2015, 03:35 PM:
 
No, I am not sure that the currently circulating 70mm print is a blow up, but I am certain that it is NOT the long lost road show version, or even the supposedly reconstructed road show version on the Criterion Bluray.
 

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Posted by Steve Matz (Member # 1890) on 06-15-2015, 04:35 PM:
 

quote: Louis Bornwasser

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"Far & Away" was pretty bad.....until the land rush scenes....Bruce Surtees, Jr. Every bit as good as Lawrence.

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Those Land Rush Scenes were filmed about 2 miles from where I
Live. Those Cameras didn't look like Super-Panavision Cameras
but I wasn't paying that much attention to all of them either.
Couple looked like Standard 35mm Panavisions... Film was Pretty Lame; Howard
didn't even have the Final Title when Filming in Billings, Script was still calling it "The Irish Story"
 

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Posted by Randy Pryde (Member # 7488) on 06-15-2015, 10:29 PM:
 
The "Mad World" print shown at the Cinerama Dome in September 2012 was UP70. You can see the 1.25 squeeze below. They played the radio calls during the intermission, but I don't know if they were on the print or from a non-sync source.


 

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Posted by Mark Gulbrandsen (Member # 72) on 06-15-2015, 10:59 PM:
 
The 70mm prints I have run before have the cop stuff on blank film on the beginning of the next reel. That times out the intermission. Had to be an expensive reel of film just for that!

Mark
 

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Posted by Steve Matz (Member # 1890) on 06-16-2015, 12:45 AM:
 
I have always loved MMMMW from the first time I saw it back in 63. Really sad when you look at all these Actors in my Link that were in that Feature, that only 3 are still living Barrie Chase-(Sylvester's Girlfriend)Carl Reiner and Marvin Kaplan-Irwin from the gas station ...

http://www.aveleyman.com/FilmCredit.aspx?FilmID=9736


Barrie Chase Then ...


Barrie Chase Today ...


Marvin Kaplin then(with Arnold Stang -Ray)...


Marvin Kaplin Today ...


Carl Reiner Then ...


Carl Reiner Today ...
 

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Posted by Allan Young (Member # 6332) on 06-16-2015, 03:59 AM:
 

quote: Mitchell Dvoskin

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No, I am not sure that the currently circulating 70mm print is a blow up

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quote: Mitchell Dvoskin was the last to post

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will screen a 70mm restored road show print of It's a Mad, Mad, Mad, Mad World

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quote:

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Facts about the new "Mad World" 70mm print
Written by: John Kirk, Director of Technical Operations" for the MGM Worldwide Services Department

The project was started during last summer (2003), probably around June. The final print was finished around the end of September or beginning of October 2003. We have various locations in the L.A. area, as well as in other places, where we store our elements. (It would be unwise to keep everything in one place, in case of natural or manmade disasters). Our original negatives are kept in a state-of- the-art facility called Pro-Tek in Burbank.

The DTS track was made at Chace Productions in Burbank from the existing 35mm 6-track stereo magnetic from the original release. Chace cleaned up the track and pumped up the surrounds a bit to give the track a more appropriate sound for modern ears. We used several different sound sources for the sound; I honestly don't remember which of our local facilities housed the 6-track magnetic before it was moved to Chace.

The lab work was done at Technicolor, because that is the only lab in Hollywood that still does 70mm work. Fortunately, the original negative was basically in good shape, so there was not a lot of repair work necessary. Most of the lab work involved close inspection of the materials, cleaning, re-timing, and a few repairs. The most notable problem was some color fading in the opening credit sequence, but since this project was not a true "restoration" per se, there was no work done on that. Otherwise, the color throughout the rest of the film was quite good.

One thing you should know about the 70mm print you'll be getting. The projector should be left on during the timed 15-minute intermission. There is nothing on the picture, obviously, but the DTS track has the police calls that were in the original release. The calls are repeated a few times during the intermission so that people from the audience can leave to go out to the restrooms before or after they hear the calls.

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quote: Jeffry L. Johnson

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Total running time including overture, intermission, entr'acte, and exit music was 176 1/2 minutes.

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Thats quite a lot of unshown Footage since the Orginal Theatrical Release in 63 was 205 minutes
 

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