This is topic Tarantino's Hateful Eight to get 70mm roadshow engagement? in forum Film-Yak at Film-Tech Forum ARCHIVE.
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Posted by Aaron Garman (Member # 1653) on 07-30-2014, 10:36 AM:
Link
quote:
“Yeah – We’re going to be doing 'The Hateful Eight.' ” is all Quentin Tarantino would say about his developing western when asked about the status of the movie at Comic-Con last weekend. But could plans be much further along that he's letting on? Well, it would certainly appear that way as before a frame has even been shot, the first poster/promo for the movie has arrived, and no it's not a fan made deal either.
Via the eagle eyes at Film Divider, next week's issue of Empire magazine will feature a full page one sheet (see below) for the movie, with a "Special Roadshow Engagement" for the movie promised for 2015, in CinemaScope too. Damn. But is this even possible? It certainly is. Kurt Russell — one of the actors who joined Tarantino for a live read of the script earlier this year (read our review) — revealed recently that an early 2015 shoot was being eyed, so a release late in the year is very feasible. And given that most of the action in this one is in a couple of contained locations, the production will likely be a bit faster than "Django Unchained." And it also looks like his plans to shoot in 70mm still seems to be intact.
Between this and a possible release of "Kill Bill: The Whole Bloody Affair," 2015 is looking like a banner year for Tarantino fans. Check out the poster below.
Posted by Mike Blakesley (Member # 26) on 07-30-2014, 12:07 PM:
That's cool about the roadshow engagement. I hope they do the full thing with an intermission and wraparound music.
The only bad thing about Tarantino westerns is, they play better to Tarantino fans than they do to Western fans -- a lot of whom are older people who don't like graphic violence.
Posted by Frank Angel (Member # 248) on 07-30-2014, 12:29 PM:
What's the availability of 70mm stock these days? Or 70mm-capable processing/printing labs? Or commercial THEATRES that can run 70mm? What will it be like in 2015? It a fast changing (mostly deminishing) playing field in all aspects of an actual 70mm production.
Never liked westerns anyway.
Posted by Rick Raskin (Member # 1561) on 07-30-2014, 01:35 PM:
Since when does Roadshow mean 70mm. I ran Roadshow of "Nicholas & Alexandra" in 35mm.
Posted by Pete Naples (Member # 761) on 07-30-2014, 04:03 PM:
If this is true I have 3 venues under my care capable of playing this ![[Smile]](smile.gif)
Posted by Joe Redifer (Member # 3) on 07-30-2014, 04:35 PM:
Yes, it'll be an anamorphic super cinemascope 70mm print. And only one print which will be shuffled from theater to theater. It will look fantastic at each of them because 70mm is always fantastic, never bad and 70mm projectionists never cause harm to a film print. Tarantino would never put a logo like this in his ads just because he thinks they're cool.
Posted by Monte L Fullmer (Member # 2797) on 07-30-2014, 04:40 PM:
Call it "Camera 65" with the 1.25:1 squeeze to get a 2.77:1 image on the screen.
Be interesting to see this all get together.
It's almost a hint that digital isn't the "Knight in Shining Armor" as it was planned out to be.
There is the side note in the news that Kodak, even though they took a hit in film stock production, is planning on staying alive after Fujifilm left us.
"Super CinemaScope" - wonder if TCF still owns the copyright on this logo, or did it fall into public domain? If not, TCF probably wants a touch of royalty for the usage of the slogan.
Posted by Scott Norwood (Member # 30) on 07-30-2014, 05:01 PM:
65mm camera stock and 70mm 2383 print stock are regular items listed in the current Kodak motion-picture catalog.
The processing and printing infrastructure still exists due to Imax production and printing. Not sure on mag-striping capabilities, but any 70mm prints would probably be DTS, anyway.
Posted by Steve Guttag (Member # 268) on 07-30-2014, 05:26 PM:
Foto-kem seems to be the survivor on 65/70 printing.
I'm sure the AFI/Silver would like playing it in 70mm in the DC-Metro area.
I would be amazed if there are any facilities left to strip prints so my money would be on DTS...er Datasat.
Posted by Mike Blakesley (Member # 26) on 07-30-2014, 05:37 PM:
quote: Monte L Fullmer
It's almost a hint that digital isn't the "Knight in Shining Armor" as it was planned out to be.
It's a gimmick, is what it is.
Posted by Claude S. Ayakawa (Member # 1401) on 07-30-2014, 06:25 PM:
"Super CinemaScope" ? There is no such thing as Super CinemaScope but,Fox had a process called CinemaScope 55. Only two films, CAROUSEL and THE KING & I was photographed with it. It was a 55mm process but both of the films were exhibited in 35mm only during their initial showings. THE KING & I was shown later in 70mm in a few venues. Tarantino might shoot his new movie in either Super Panavision 70 or Ultra Panavision (Camera 65) and advertise it as Super CinemasScope. I wonder if he will have to pay Fox a fee for the rights to use their 'scope' brand name?
-Claude
Posted by Connor Wilson (Member # 6088) on 07-30-2014, 08:37 PM:
Who gives about "Super CinemaScope?" I would just assume it's Tarantino's vanity plate for his 70mm film(s). Derivative, yes, maybe he got the license from Fox, maybe not, but who cares? Is Tarantino going to bypass the digital intermediate for 70mm prints? A film-out from a 4K DI to 70mm won't be sufficient enough. I want a print duped from the negative, not the DI bull.
I am very supportive of a 70mm revival, as in new films being shot and released in the format, but in my heart I know it's a wet dream. 65mm stock is hard to come by, IMAX is dropping 15/70mm support by the end of the year, and most exhibitors don't have the money for a 70mm projector and know next to nothing about proper handling of 70mm prints.
In the unlikely resurgence of 70mm, I wish that Datasat could get 70mm sound to be up to speed with DCP. I'm talking about a 48kHz/24bit multichannel 7.1 LPCM stream stored on a Blu-ray and synchronized with an updated timecode system. Perhaps an upgrade to Dolby Atmos or DTS MDA to match the 70mm picture quality. The old DTS-70 method is antiquated, but served its purpose.
I had no interest in Tarantino's last two films and am not very excited about The Hateful Eight other than 70mm.
Posted by Bobby Henderson (Member # 840) on 07-30-2014, 10:22 PM:
Both the CinemaScope name/logo and that particular 70mm logo (first introduced in advertising for Star Trek II: The Wrath of Khan) are both registered trademarks. Although in the case of the 70mm logo I don't know who owns it. Paramount Pictures maybe? They used that logo the most, although 20th Century Fox used it heavily in advertising for Die Hard.
Obviously Tarantino is just doing a mashup of both brands as a double shot of nostalgia. I doubt if he would actually use anamorphic lenses and 65mm together since few if any theaters at all could actually show a 2.7:1 Ultra Panavision 70 image without letter-boxing it significantly.
Regarding the question of whether the movie will be forced through a digital intermediate and its limited resolution bottleneck, I'd give it a 50-50 chance. Hopefully the movie would be processed in a purely film-in and film-out method.
However, use of a digital intermediate in post wouldn't be the end of the world. But the film would have to be scanned and digitally treated in a lot higher resolution than mere 4K. To do the 70mm format any justice both the scan and DI would need to be at least 8K or higher. If the DI is rendered in 4K there wouldn't be any point in doing a film out to 70mm. Might as well just generate 35mm 'scope prints instead if the DI is only 4K.
While a purely film-based post production work flow would be nice it has its own drawbacks. There will be some generational loss going from original negative to interpositives and internegatives that would be used in color timing. By the time the image gets to 70mm release prints it's not going to look quite as great as the 65mm negatives even though the prints will beat the shit out of 2K and 4K digital shows (this is assuming proper film projection practices).
Obviously DTS/Datasat would be used in some form for the audio on 70mm prints. However, with DTS working on that Open MDA thing there is at least some chance of an advanced, object oriented sound mix being available to run with the 70mm prints. I'm wondering if there's any way to run a format like Dolby Atmos in conjunction with a 70mm print, other than somehow running a DCP and 70mm print in sync with each other.
quote: Connor Wilson
In the unlikely resurgence of 70mm, I wish that Datasat could get 70mm sound to be up to speed with DCP. I'm talking about a 48kHz/24bit multichannel 7.1 LPCM stream stored on a Blu-ray and synchronized with an updated timecode system.
A 7.1 24/48 LPCM track wouldn't need to be recorded onto something like a Blu-ray disc. A DVD-R disc would suffice. Even a USB memory stick would do fine. Even something like a 9.1 or 11.1 LPCM track could fit on conventional media. It wouldn't matter anyway, the audio data would be dubbed onto a hard disc system for actual playback.
Posted by Scott Norwood (Member # 30) on 07-30-2014, 10:25 PM:
Does DTS/Datasat have a 70mm failsafe kit (allows one set of readers to drive two players and switch one player in as a backup in case the primary player fails) for the XD20? I have only seen thise used with the 6Ds.
Posted by Mark Gulbrandsen (Member # 72) on 07-30-2014, 10:37 PM:
Gulliver Arane outside of Paris is actually doing most of the 70mm relese printing these days. Here is a nifty article about them from Thomas's site.
Mark
Gulliver Arane 65/70mm film lab
Posted by Martin McCaffery (Member # 37) on 07-30-2014, 10:55 PM:
In the grand scheme of things on a, let's say, $100million dollar movie, how much would it dent the budget to do a couple of anamorphic 70mm prints and outfit one or two theaters for exclusive runs? I'm sure Hollywood has squandered more on publicity stunts.
Posted by Brad Miller (Member # 2) on 07-30-2014, 11:09 PM:
quote: Bobby Henderson
Regarding the question of whether the movie will be forced through a digital intermediate and its limited resolution bottleneck, I'd give it a 50-50 chance. Hopefully the movie would be processed in a purely film-in and film-out method.
Tarantino is making a point here. I don't see any way he would do a DI, and damn good for him too. It's nice that Nolan is trying to keep film alive, but IMAX is just a shit format for cinematic purposes with their retarded aspect ratio, no masking and downright bad sound systems. Tarantino is smart enough to know the 5/70 format is dangerously close in resolution to 15/70 when using a proper 2.40 ratio anyway, and he is more interested in putting a show on properly than using the deceptive IMAX branding to try and fool people into thinking they are getting a better presentation.
quote: Scott Norwood
Does DTS/Datasat have a 70mm failsafe kit (allows one set of readers to drive two players and switch one player in as a backup in case the primary player fails) for the XD20? I have only seen thise used with the 6Ds.
The XD10 and XD20 can be setup with 6d automation emulation and there are lots of boards that can handle the switching. It's easy. We actually had 3 units at Northpark when we ran Titanic (amidst other dts70 releases), although to my knowledge the lead unit never dropped. It's amazingly solid.
quote: Connor Wilson
and most exhibitors don't have the money for a 70mm projector and know next to nothing about proper handling of 70mm prints.
Sadly that's been the case for a long time. And it's really annoying when people pick up a 3570 machine and just decide they are going to run 70mm. Those are the kind of people that don't truly understand the careful alignment and setup that 70mm needs (especially magnetic acetate), and they end up causing damage to the last few remaining prints. ![[fu]](graemlins/fu.gif)
to you people out there that do that!
quote: Connor Wilson
I had no interest in Tarantino's last two films and am not very excited about The Hateful Eight other than 70mm.
I know Tarantino's work isn't everyone's cup of tea, but he is one of my absolute favorite directors and Django Unchained was nothing short of awesome.
Posted by Joe Redifer (Member # 3) on 07-30-2014, 11:49 PM:
To anyone thinking this will ever come out in 70mm: Good luck! Tarantino loves nostalgia and there's nothing wrong with that. He seems like the kind of guy who would prefer 35mm over 70mm. Maybe even 16mm over 70mm. He's not a resolution freak. He's more of a film grain freak. Look what he did that that short car crash movie he made (the only one of his movies I'll likely never watch again). Fake film damage all over! That's what he likes. He doesn't like clean and sterile. The fake logo in the ad is just him being him. Just like that ShawScope logo that was attached in front of Kill Bill, along with the beat-to-hell Feature Presentation tag.
Though I do find it amusing that some of y'all are actually believing it to be true. I hope I'm proven wrong. That's what's awesome about being a pessimist. You're either always right or you're pleasantly surprised. It's awesome, I recommend you all try being a pessimist as soon as it's convenient for you.
Posted by Terry Monohan (Member # 8285) on 07-31-2014, 10:36 AM:
I think they will do about 10 70mm Super CinemaScope® film prints worldwide. They will play up the 70mm roadshow version, pre show music with curtains closed, intermission and exit music and programs. If It's a western all the staff will be in cowboy/cowgirl outfits. Showmanship returns. The Cinerama Dome in Hollywood plus the Cinerama Theatre up in Seattle WA will show It on their giant curved screens for exclusive runs. Can you imagine If he shoots in duel 2 camera 70mm and 2 snyc projector 70mm 3-D. If the theatres use a large platter and he has a intermission It may work. The roadshow houses will need to hire true projection people and bring them out of retirement. This will be the first time for all the young movie goers to see what 70mm roadshow is all about. MR Quentin can be the new Mike Todd and only show his new 70mm film for the first 30 days in 70mm curved screen roadshow 70mm theatres only. He can be picky about the presentation and how the stereo sound is used in the surrounds. Bring on the 70mm roadshows for a new generation to enjoy.
Posted by Bobby Henderson (Member # 840) on 07-31-2014, 11:11 AM:
quote: Joe Redifer
To anyone thinking this will ever come out in 70mm: Good luck!
I think there's at least a very good chance Tarantino will film The Hateful Eight in 5-perf 65mm format. He has been pretty clear about his intentions to do so. Shooting a movie in 5/65mm or 15/65mm appears to me like a type of conquest for certain directors and cinematographers, at least the ones who give a damn about shooting on film anyway.
It's a lot easier to shoot a movie using video cameras rather than film cameras. That's not to say it's just plain easy to shoot a movie on video. There is a lot of work involved after all. Shooting on film requires more planning, or rather different kinds of planning. Making a movie in 70mm seems like a huge challenge. So if a director and cinematographer can do a great job with it they'll have some serious bragging rights over the video camera weilding horde (not to mention a much better looking end product that will both last and look great for decades).
It's a bigger question whether The Hateful Eight will actually play theatrically in 5-perf 70mm in more than a handful of theaters, if it plays in 70mm at all. I was disappointed Samsara was shot on 65mm, but only released in 4K DCP.
quote: Brad Miller
Tarantino is making a point here. I don't see any way he would do a DI, and damn good for him too. It's nice that Nolan is trying to keep film alive, but IMAX is just a shit format for cinematic purposes with their retarded aspect ratio, no masking and downright bad sound systems. Tarantino is smart enough to know the 5/70 format is dangerously close in resolution to 15/70 when using a proper 2.40 ratio anyway, and he is more interested in putting a show on properly than using the deceptive IMAX branding to try and fool people into thinking they are getting a better presentation.
Digital effects are one thing that may force the use of a digital intermediate on The Hateful Eight. These days both movies and TV shows make very heavy use of "digital back lot" techniques. Computer modeling/animation and compositing techniques allow productions to overcome a lot of limitations with sets, locations and budgets.
If Tarantino wants to do an all analog production and post production he'll need to use practical effects as much as possible. For the other stuff he'll need to employ an effects house that can do everything ILM was doing 30 years ago. For instance I'm not sure if anyone hand paints matte paintings on glass anymore or does rotoscope art by hand. So much effects work has been digital for a long enough time I'm not sure if anyone could get that kind of work done in analog anymore if he wanted to do so.
Regarding IMAX, one thing that worries me is The Hateful Eight might actually need to be printed in IMAX format just so the prints can have a better chance of being handled by projectionists with good 70mm handling experience and projectors that are properly set up to run 70mm.
Posted by Steve Guttag (Member # 268) on 07-31-2014, 11:43 AM:
Nah...I actually think printing in IMAX would have a negative effect on it all. 5/70 should be the release format of choice. They can put any rider they want on who gets a 5/70 print...in fact, they could definitely do a strict "TAP" like inspection of any perspective facility.
Posted by Brad Miller (Member # 2) on 07-31-2014, 12:37 PM:
I would be all for giving out "prints" that are comprised of clear film with the logo in the middle. Each reel can be a few minutes long to speed up the process. Make the prospective theaters run the show at least a few hundred times. See a mark on the print? Fail. ![[evil]](graemlins/evil.gif)
Posted by Daniel Schulz (Member # 1881) on 07-31-2014, 02:34 PM:
quote: Bobby Henderson
Obviously DTS/Datasat would be used in some form for the audio on 70mm prints. However, with DTS working on that Open MDA thing there is at least some chance of an advanced, object oriented sound mix being available to run with the 70mm prints. I'm wondering if there's any way to run a format like Dolby Atmos in conjunction with a 70mm print, other than somehow running a DCP and 70mm print in sync with each other.
DTS and Datasat have very little to do with one another - DTS doesn't have anything to do with the cinema industry any longer, other than their proposal to Hollywood to adopt MDA as a file format for object-based mixing (Datasat licenses DTS codecs for our home theater processors, nothing more). There's no development work going into object-based playback in conjunction with film.
It would be fun to do more than just 5.1 though - either a D-Cinema style 7.1, or a 70mm-style mix with 5 screen channels and stereo surrounds. Either could be accommodated using XD10s or XD20s.
Posted by Manny Knowles (Member # 1171) on 07-31-2014, 03:19 PM:
I don't know anything about the story line of "Hateful Eight," but if it needs visual effects, those will most likely be CGI. So at least those shots will be the outcome of a DI. Additionally, color timing could also steer the whole enterprise into DI territory.
Even if this goes all the way to a 70mm release, most people will have no choice but to see it via digital cinema.
In terms of likely outcomes, the cinemas that still have 70mm capability now have a reason to consider keeping it around. However, if the film system has already been decommissioned, it's gone forever. (And, if there's no room for both film and digital, then film will have to go.)
Cue Steve Guttag to tell us how many 70mm installs he's already got lined up for this release! ![[Razz]](tongue.gif)
I have no doubt there will be a handful of places "enthusiastic" enough to re-install 70mm for this. But that will not be the norm.
The norm will be d-Cinema.
Posted by Steve Guttag (Member # 268) on 07-31-2014, 04:44 PM:
I don't think anyone is suggesting that 70mm would be the "norm." However, it is possible that there could be a 70mm exclusivity for a VERY brief period if that is what QT wants and has the clout to do it.
As for 70mm venues..."THE MASTER" would be a good feel of who can run 70mm...though I hear not all did it justice. I would doubt if the quantity of perspective 70mm venues has risen since them. However, since The Master was only about 2-years ago, odds are that most of them still have 70mm capability since most/all of them already have DCinema too.
Posted by Bobby Henderson (Member # 840) on 07-31-2014, 04:45 PM:
One thing is certain, if The Hateful Eight is filmed in 5/65mm the resulting Blu-ray and 4K media player imagery will probably look great coming from such a high quality source.
The powers that be in Hollywood really need to keep film around in some form. The most critical element is backup. Digital may have all its flexibility and convenience, but one of the things that sucks the most about it is longevity.
Reels of film aren't perfect, but they can at least last decades. Optical discs, magnetic hard discs and data tapes all can rot or get corrupted in some manner over time. As generations of computer hardware and operating systems come and go all that data stored may be lost because nothing can run the host application to open/recover the data.
We always hear about films like The Alamo being lost forever because the best existing film elements are slowly degrading. Not many people are considering the fact a movie shot 100% in digital and whose data exists only in digital form could be lost in a matter of just a few years, leaving some DVDs and Blu-ray discs as the best surviving elements.
quote: Steve Guttag
As for 70mm venues..."THE MASTER" would be a good feel of who can run 70mm...though I hear not all did it justice. I would doubt if the quantity of perspective 70mm venues has risen since them. However, since The Master was only about 2-years ago, odds are that most of them still have 70mm capability since most/all of them already have DCinema too.
I think The Hateful Eight by way of Quentin Tarantino's popularity would have a better chance of a mass market release and at least have the potential of playing in 70mm at more locations. The Master had more limited appeal. Paul Thomas Anderson certainly has his fan base, but his work just isn't as popular as QT.
Posted by Joe Redifer (Member # 3) on 07-31-2014, 08:07 PM:
quote: Steve Guttag
I don't think anyone is suggesting that 70mm would be the "norm."
70mm should have always been the norm. 35mm should have been a home movie format like 8 and 16mm. Think about how this would have affected the industry. There'd be fewer cinemas with thousands of auditoriums under one roof because moving prints would be damn near impractical. But even then booths would be far more spacious to house the print moving vehicle. Projectionists could race each other in the booth with these vehicles during the show. All new ways to cause chaos and neglect doing your job.
So has anyone thought to ask Quentin about this 70mm business? How does someone get a hold of this motherfucker?
Posted by Brad Miller (Member # 2) on 07-31-2014, 09:00 PM:
quote: Joe Redifer
70mm should have always been the norm.
Talk about a wet dream!
I used to move 70mm prints by sort-of interlocking them. For example, to move a print from screen 1 to 2, I would payout from screen 1, go through a couple of MUT rollers and feed it into the projector for 2, where it would takeup normally. Breaking them partway down would've been foolish, as that would've been unnecessary handling. I used that after-hours "print move show" as a means of QC'ing the new screen running that film as well to tweek anything that wasn't perfect. We would've QC'd the print in that screen anyway regardless of how the print arrived to that platter.
Posted by Steve Guttag (Member # 268) on 07-31-2014, 11:29 PM:
Oh believe, me, I would have loved if 70mm had been the industry standard. It would have also set DCinema back a bit as it would have been much harder to compare favorably (image wise...damage wise digital will always win).
Posted by Terry Lynn-Stevens (Member # 7349) on 08-01-2014, 02:31 AM:
quote: Martin McCaffery
In the grand scheme of things on a, let's say, $100million dollar movie, how much would it dent the budget to do a couple of anamorphic 70mm prints and outfit one or two theaters for exclusive runs? I'm sure Hollywood has squandered more on publicity stunts.
Hollywood knows that 70mm can be a very big draw on per print basis, they just have to look back at their financials from the 70mm releases from the 80/90s for proof, even though the releass were for sound. But, Hollywood seems to be focused on ultra-wide first weekend releases, 70mm in the modern day would do well for exclusive engagements.
Posted by Aaron Garman (Member # 1653) on 08-01-2014, 02:41 AM:
Anyone know if any of the cinemas that did show the Master in 70mm were anything but art houses? Any seriously BIG show theatres?
AJG
Posted by Mike Blakesley (Member # 26) on 08-01-2014, 02:55 AM:
quote: Joe Redifer
So has anyone thought to ask Quentin about this 70mm business? How does someone get a hold of this motherfucker?
Maybe he doesn't actually exist. He might be like the Wizard of Oz or something. Does he ever get interviewed? (I admit to knowing next to nothing about the guy, if in fact he is a guy.)
Posted by Terry Lynn-Stevens (Member # 7349) on 08-01-2014, 03:55 AM:
@Aaron.
Cineplex Varsity is a premier for Cineplex in Toronto. Almost all exclusive engagements open at Varsity. They played it for four weeks on opening with no issues, they also charged an up charge for The Master in 70mm as well.
Posted by Scott Norwood (Member # 30) on 08-01-2014, 08:35 AM:
This page lists the US theatres that played The Master in 70mm in its initial release in 2012.
Specifically, it includes the following:
CA - Aero (Santa Monica)
CA - Arclight (LA) - 2 prints
CA - Castro (San Francisco)
CA - Grand Lake (Oakland)
CA - Landmark (LA)
IL - Music Box (Chicago)
MA - Coolidge Corner (Brookline)
MD - AFI Silver (Silver Sprint)
NY - Cinema 1 (NYC)
NY - Lincoln Square 12 (NYC)
NY - Village East (NYC)
NY - Ziegfeld (NYC)
TX - Alamo (Austin)
Does anyone know if this is a complete list? One can reasonably assume that these venues are all still equipped for 5/70mm (though someone said that the Arclight rented the projection equipment, and I know that the Coolidge rented lenses and DTS sound equipment).
Posted by Manny Knowles (Member # 1171) on 08-01-2014, 05:17 PM:
quote: Scott Norwood
Does anyone know if this is a complete list?
Paging Mr. Coate...
Posted by Daniel Schulz (Member # 1881) on 08-01-2014, 07:45 PM:
quote: Scott Norwood
Does anyone know if this is a complete list? One can reasonably assume that these venues are all still equipped for 5/70mm (though someone said that the Arclight rented the projection equipment, and I know that the Coolidge rented lenses and DTS sound equipment).
As far as I can remember, this list is complete. Datasat was heavily involved in supporting these screenings, as a number of venues needed Datasat players and/or 70mm readers (sold in some cases, rented in others), and other venues that still had their equipment needed a fair amount of hand-holding to get it back online and running properly.
It's possible, though unlikely, there were other 70mm bookings that I didn't know about - if a venue had the needed equipment and needed no help getting it to work then they would have had no reason to check in with us at Datasat.
Posted by Martin McCaffery (Member # 37) on 08-01-2014, 08:24 PM:
I know the Michigan in Ann Arbor still has operational 70mm. I do not know if they showed The Master in 70mm.
Posted by Tony Bandiera Jr (Member # 2365) on 08-01-2014, 10:42 PM:
quote: Mike Blakesley
Maybe he doesn't actually exist. He might be like the Wizard of Oz or something. Does he ever get interviewed? (I admit to knowing next to nothing about the guy, if in fact he is a guy.)
Mike, he actually exists, he does on rare occasions do interviews, and he is a guy. Nice enough but a bit eccentric. I met him once and chatted briefly with him. He is a stickler for details...which surprised me when, in the film "Inglorious Basterds", he had ICC shipping cans in the projection booth scenes. (Which I thought didn't yet exist overseas in the film's time era...) Fun fact: The ICC cans used were from his personal film collection...immaculate, painted that dark olive green....film archives should learn how to properly protect film from Quentin.
Many years ago I serviced his home screening room (very nice one, done up like a cross of old time and art deco)..had a pair of XL's (35mm only) formerly a CP-500, and a very hideous JVC early DLP projector that was an absolute nightmare to work on...I had to change a lamp ballast in it once..and JVC's support was almost as bad as Sony's.
I have heard he has since upgraded to DLP (A Barco I think) and a CP-650.
Posted by Kenneth Wuepper (Member # 1174) on 08-02-2014, 02:10 PM:
Other Michigan theatres with 70mm capability include the Redford Theatre near Detroit and the Temple Theatre in Saginaw.
The Redford just screened the 70mm print of a Hitchcock film.
The capability does still exist in venues where film is still the standard medium.
Posted by Sean Weitzel (Member # 244) on 08-02-2014, 02:47 PM:
The Castro still has a pair of JJ's with all of the 70mm bits ready to go along with a 4k Christie, however, I've been told they cannot show magnetic prints anymore. The penthouses and the CP200 were removed several years ago.
Posted by Frank Angel (Member # 248) on 08-04-2014, 06:52 AM:
Is Datastat still making 70mm code readers? If someone wanted to outfit their 70mm projectors to play this title, but didn't have a DTS playback penthouse, how difficult would it be to get one new or would you have to look for it on the used market?
Posted by Daniel Schulz (Member # 1881) on 08-04-2014, 05:00 PM:
quote: Frank Angel
Is Datastat still making 70mm code readers? If someone wanted to outfit their 70mm projectors to play this title, but didn't have a DTS playback penthouse, how difficult would it be to get one new or would you have to look for it on the used market?
We are no longer manufacturing timecode reader heads (35mm or 70mm), or XD20 players for that matter. We do, however, have inventory and a customer could purchase the needed hardware from us if need be.
Posted by Leo Enticknap (Member # 534) on 08-05-2014, 12:17 AM:
quote: Scott Norwood
One can reasonably assume that these venues are all still equipped for 5/70mm...
The Aero most certainly is, both mag and DTS, and there will be two 70mm shows this month: (Lawrence of Arabia this coming Saturday in DTS special venue (5 stage channels), and The Untouchables on Monday, August 25 with six-track mag).
The Egyptian in Hollywood is also equipped and ready to run both mag and DTS 70, though the next 70mm show that I am aware of isn't until December 6 (Gremlins). There's no 70 in the regular program for August or September, at any rate. Both theaters have a pair of Norelco DP70s: Mk. Is at the Aero and AAIIs at the Egyptian. I'm guessing there could be a 70 show or two for Cinecon at the end of the month, but we haven't been given the full line-up yet.
70mm DTS wouldn't be possible at either theater without Datasat's very generous ongoing help and support, for which we're extremely grateful to Daniel, Mike, Karen and their co-workers.
Posted by Amanda Mundin (Member # 3386) on 08-05-2014, 02:14 PM:
How much would an XD20 and timecode reader cost?
Posted by Steve Kraus (Member # 476) on 08-05-2014, 03:26 PM:
Besides 5/70 prints for the handful of venues that can handle 70mm, they *could* make some 15/70 prints (letterboxed just a little below center) for places that have not switched to LIEMAX.
Posted by Brad Miller (Member # 2) on 08-05-2014, 04:47 PM:
Sure, but then you've got the retarded square screen, no masking, bad sound, etc. If Tarantino wants a true "roadshow" kind of release, he should stay far away from IMAX.
Posted by Scott Norwood (Member # 30) on 08-05-2014, 04:59 PM:
Brad--what do you dislike about the Imax sound system? My experience (with real Imax, not Lie-Max) has been that the sound quality is always first-rate and better than one would find in a 35mm/DLP house. If nothing else, these systems actually get maintained regularly, unlike the sound systems in many multiplexes.
Posted by Terry Monohan (Member # 8285) on 08-05-2014, 07:41 PM:
I find the surround sound is not good at the large original Imax theatres. They just have two big speakers at the far left and right rear back. They don't even hide them, just a big bland speaker box ready to fall on some ones head during a earthquake. While the stage speakers have good stereo separation and bass the wrap around effect is missing from the surrounds at Imax as most speakers are not placed on the side walls. Many Imax screens I have been to in California the surround information is very low as they blast the front stage screen speakers. The old people have to cover their ears during the Imax demo at the start. The young people have hearing loss already from to much loud music.
Posted by Brad Miller (Member # 2) on 08-05-2014, 08:03 PM:
Scott, they are shrill sounding, have no true low end and the surrounds only having 2 speakers can't create an atmosphere, only two specific points of sound. It's just movie sound done wrong.
You must live near a bunch of awful sounding first run locations.
Posted by Joe Redifer (Member # 3) on 08-06-2014, 09:52 PM:
Oh man, IMAX sound is bad. It may used to have been good for the kinds of stuff they show, but certainly not for real movies. It's just not designed to deal with that type of sound. And it doesn't matter if the showing is digital or film-based IMAX, they're all likely using the same linear PCM digital sound playback. I saw Batman Rises or whatever it was called in IMAX on film and I was pissssed! Such awful sound. Such an awful picture as well. It was insulting. 35mm at my little rinky-dink mall theater was a hell of a lot brighter, sharper and far more pleasant to watch than a 15/70 IMAX show at the Colorado Center. My rinky-dink mall theater auditoriums sounded a hell of a lot better as well and they sounded like crap on the grand scale of things. Even my little auditoriums without subwoofers had more bass than Batman Rises in IMAX. The digital IMAXs I've seen have been equally shrill, like someone is stabbing my ears. IMAX sound is a joke. Employees of IMAX should be ashamed to put out such an inferior product.
Posted by Terry Lynn-Stevens (Member # 7349) on 08-06-2014, 10:20 PM:
quote: Joe Redifer
35mm at my little rinky-dink mall theater was a hell of a lot brighter, sharper and far more pleasant to watch than a 15/70 IMAX show at the Colorado Center.
What are you going to do when Interstellar is released in 15/70 this November?
Posted by Joe Redifer (Member # 3) on 08-06-2014, 10:49 PM:
Me? Well personally I'd rather wait until the Blu-ray comes out but I imagine Jen will drag me to a regular d-cinema showing somewhere. There is no reason to believe that IMAX film presentation is still great and it is a disservice to pretend that it is. They just move it into place for the event and then move it back out of the way. They don't take their time to make sure everything is set up correctly and there is no oversight anywhere to make sure theaters comply. Plus it's IMAX. I don't care if part of it was shot in IMAX the aspect ratio sucks and so does the switching back and forth. Make up your mind, aspect ratio!
Posted by Connor Wilson (Member # 6088) on 08-07-2014, 07:31 AM:
quote: Joe Redifer
Oh man, IMAX sound is bad. It may used to have been good for the kinds of stuff they show, but certainly not for real movies. It's just not designed to deal with that type of sound. And it doesn't matter if the showing is digital or film-based IMAX, they're all likely using the same linear PCM digital sound playback. I saw Batman Rises or whatever it was called in IMAX on film and I was pissssed! Such awful sound. Such an awful picture as well. It was insulting. 35mm at my little rinky-dink mall theater was a hell of a lot brighter, sharper and far more pleasant to watch than a 15/70 IMAX show at the Colorado Center. My rinky-dink mall theater auditoriums sounded a hell of a lot better as well and they sounded like crap on the grand scale of things. Even my little auditoriums without subwoofers had more bass than Batman Rises in IMAX. The digital IMAXs I've seen have been equally shrill, like someone is stabbing my ears. IMAX sound is a joke. Employees of IMAX should be ashamed to put out such an inferior product.
That's too bad your Dark Knight Rises 15/70 experience was awful. I was lucky to see DKR in 15/70 at the IMAX in Palisades Mall, West Nyack, NY. At the time, it wasn't owned by a major chain like AMC or Regal, but it was owned and operated by IMAX themselves. The projectionist was from IATSE, and as a result, the image was sharper, brighter, overall a presentation better than most d-cinema locations. The IMAX sequences just looked unreal.
As for the sound, it was unfortunate DKR had a mediocre and bloated mix, one of the worst sound mixes for a major film in a long time. I first thought the sound system wasn't as good, but it was just the fault of the mix.
I later saw DKR rises again at a rinky-dink 35mm theatre in D.C. Guess what? The 35mm rinky-dink sound system was SUPERIOR to that IMAX, and at least the mix was better mastered on the 35mm prints. It was also a clean 35mm print without any major scratches. Ironically, the sequences shot in 35mm and standard 65mm looked sharper than the IMAX DMR on the 15/70 print.
Posted by Leo Enticknap (Member # 534) on 08-07-2014, 10:11 AM:
Please forgive another shameless plug in the hope of reaching 70mm fans in the LA area: West Side Story on DTS 70 at the Egyptian on Thursday, September 11 - show just confirmed.
Posted by Terry Lynn-Stevens (Member # 7349) on 08-23-2014, 11:28 AM:
Saw the new Tarantino trailer at the movies yesterday. It was pretty damn cool to see them say "See it in glorious 70mm Cinescope" at the end. I can't wait.
Posted by Jim Cassedy (Member # 4115) on 08-23-2014, 12:22 PM:
Don't know if it's related to this release, but a couple of weeks ago, one of
the screening facilities I work at sort of gave me the "heads-up" that I may
be running some 70mm this fall and wanted me to make sure I checked out
their projectors sometime soon.
I'm sure the machines (a pair of Kinoton 35/70's) are in good shape since
35mm is still run on a semi-regular basis; - - it's mainly a matter of making
sure I know where all the 70mm lenses & aperture plates have been stashed.
I told them I'd take care of it in a couple of weeks when I get back from
working the Telluride Film Festival.
Posted by Joe Redifer (Member # 3) on 08-25-2014, 07:06 PM:
quote: Terry Lynn-Stevens
It was pretty damn cool to see them say "See it in glorious 70mm Cinescope" at the end.
*Super Cinescope.
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