VistaVision and 70mm locales of “One Battle After Another”

[Terry Monohan]

I had thought the VistaVision print was going to shown at the Hollywood Chinese Theatre as they had the VV projectors a few months ago for the TCM festival.
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Now I see Quentin Tarantino has 'One Battle After Another' coming to his Vista Theatre in LA. The 'Vista' has a way smaller screen then the IMAX Chinese has and not curved. At least they have working curtains at the Vista like the Hollywood Chinese if they use them correctly.

Tarantino has 35mm/70mm projectors in the booth and I guess now a VistaVisiion projector. I wonder If this is the one that the Hollywood Chinese had .for a few days with a move over to the Vista?

This film shot with old VistaVision cameras is only going to light up the middle part of a wide scope screen. May look better on a square large IMAX screen Same with the blow up to 70mm film, may look crisp but not that wide.

I have not been that impressed with the flat trailers I have seen on DCP for months, does not look that clear and crisp for VistaVision.

[Gordon McLeod]

I had thought the VistaVision print was going to shown at the Hollywood Chinese Theatre as they had the VV projectors a few months ago for the TCM festival.
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Tarantino has 35mm/70mm projectors in the booth and I guess now a VistaVisiion projector. I wonder If this is the one that the Hollywood Chinese had .for a few days with a move over to the Vista?

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No it is a Ballantyne Ridefilm machine The chinese had one of the rental Century prototypes that originally was at Radio City from Boston Light and Sound

[Sean McKinnon]

https://coolidge.org/programs/vistavision

[Scotty Wright]

Anyone received a 5perf print yet? Curious if they’re 2.20 or hardmatted to 1.85.

[Sascha Roll]

1.85 pillarboxed

[Scott Norwood]

What does the DTS timecode look like on the VV prints? Is it outside the perfs like on 70mm?

[Ryan Gallagher]

What does the DTS timecode look like on the VV prints? Is it outside the perfs like on 70mm?

The Odeon listing shared earlier gives this hint:
"with DTS timecode between the perforations and the edge of the film."

So yes, beyond the perfs where the mag stripe or SDDS would normally be seems to be the answer. This probably entailed customizing a couple DTS readers for the alternative timecode alignment I would guess. It also states the ST will utilize the discrete sub channel feature. It's a bit of speculation if it is normal DTS timecode, or perhaps SMPTE special venue timecode? But as all articles use the TM "DTS" language, I would assume normal DTS methods.

Sean from BL&S shared this useful article in the other One Battle thread which covers venues, projectors, process, and formats (though it doesn't illuminate the DTS questions further):

https://www.indiewire.com/features/c...on-1235151416/

It sounds like the Ballantyne locations will run from a platter to a single VV projector. Where as the Boston location will be run on changeover? (using the same set of projectors as TCM Fest from BL&S?)

[Ed Gordon]

More on VV and One Battle After Another from Perf Damage:

VistaVision Expert: The Best Film Format to Watch One Battle After Another

VistaVision is back—and you won’t believe how epic it looks on the big screen! In this episode of Perf Damage, we break down every way you can watch Paul Thomas Anderson's new film One Battle After Another: the ultra-rare 8-perf horizontal VistaVision screenings (only four theaters in the world!), massive 70mm, towering IMAX 15-perf film, and DCP. Charlotte—recently quoted as the VistaVision expert—explains why this is a historic film event that hasn’t happened since Strategic Air Command in 1955, and what makes VistaVision different from every other format. Adam shares his favorite line from the movie, we compare formats head-to-head, and we give you the inside scoop on the best film format to see this must-watch release.

[Allan Young]

this is a historic film event that hasn’t happened since Strategic Air Command in 1955

Surely there were several more VistaVision prints struck after 1955?

[Steve Guttag]

I think one of the longer running VistaVision projection systems was at Colonial Williamsburg with their signature movie A Story of a Patriot. It was somewhat unique in that it had 6-track magnetic striping instead of either Perspecta Stereo or even 4-track from CinemaScope. It had the Todd-Ao track configuration but with ceiling surrounds instead of the traditional horseshoe configuration.

[Ron Graham]

Saw the 70mm print at Alamo South Lamar during Fantastic Fest. Neat experience.

[Tom Tomlinson]

my Saturday morning ny vista screening failed right at beginning---no audio on Warner intro--audience waiting--no sound--screen went black they tried something--house lights up--waiting--then digital backup started. manager outside after screening offering refunds.--All very cordial with the apologies. He said no vista for remaining vista shows that day.
I would have preferred a better theatre. I am not. fan of stadium and was surprised this was an rpx & dolby certified. I much prefer dolby 42nd street on a more legacy type theatre. I always figured dolby had tighter guidelines in terms of theatre type.
Anyway I noticed with he digital 4x3 artifacting along top of image. Movie was great. But this was not a premium experience. I blame the studios for not protecting the theatrical experience.

[Ryan Gallagher]

my Saturday morning ny vista screening failed right at beginning---no audio on Warner intro--audience waiting--no sound--screen went black they tried something--house lights up--waiting--then digital backup started.

Sad to hear you didn't get the experience you were after. Failed audio is kinda the last thing I would expect, even with the modified timecode for VV, DTS is pretty bombproof normally. Wonder if they had their processor crap out.

[Chris Haller]

Popped up to Cineplex Vaughan for the IMAX 70mm print - interesting experience to watch an entire movie in the 1.44:1 aspect ratio. It was often times pretty overwhelming in close ups, but sometimes that worked to great effect for the imagery the movie was crafting. The wide exterior shots in particular were wonderful in the film's third act. It worked pretty well once the intensity of it wore off.

In terms of image quality it reminded me a lot of the 1.44:1 sequences in Sinners. Sinners was finished with a 4K digital intermediate and then printed to IMAX film and so it filled the entire screen when was supposed to, but it never hit that awe inspiring clarity that a true IMAX shot has like in Christopher Nolan's IMAX movies. The 1.44:1 sequences in Sinners did originate on IMAX negative though, so they were less grainy than the Vistavision format used to make One Battle After Another. So it was grainy, and lacked that awe inspiring clarity. Pretty great for a blow up, honestly. I was impressed.

It sure would be fun if this happened more often. And the movie was excellent too. Just the best.

Edit: forgot to mention that there was a bit of empty space on the far left side of the 15/70 frame of varying size, and sometimes no empty space at all. This also happened during the 1.44:1 sequences in sinners too. I suspect it has something to do with the film out process they use from digital files.

[Allan Young]

Edit: forgot to mention that there was a bit of empty space on the far left side of the 15/70 frame of varying size, and sometimes no empty space at all. This also happened during the 1.44:1 sequences in sinners too. I suspect it has something to do with the film out process they use from digital files.

Unlike Sinners, I don't think One Battle After Another used a digital intermediate for the IMAX prints.