|
|
This topic comprises 5 pages: 1 2 3 4 5
|
|
Author
|
Topic: Tarantino to shoot ant release next movie in 70mm in 2015
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
|
posted 09-05-2014 12:00 AM
Here's the way I see it with 70mm, and film in general. It's a lot like the resurgence of vinyl LPs with music sales/distribution. Our local Hastings store has a bunch of music on vinyl. Apparently there's enough customers out there to justify selling it. And that's even with the dubious advantages vinyl has over modern digital recording technology.
There is no dispute over how much better 5-perf 65mm originated material can look versus the very best digital video camera systems currently available to mankind. 70mm is just plain better. Period.
Obviously I understand it's a hell of a lot more difficult working with film versus digital video. But 70mm is a grown up, real hardcore, real man kind of movie making process. 70mm ain't for pussies. If you're really a filmmaker and want to live up to the FILM part of that term (which is largely BULLSHIT in most other cases of what we're calling "films" now), making a movie in true 70mm format is the end all be all of it. QT is throwing down the gauntlet on being a real man and real filmmaker in that most non-pussy sense of the term. He's going to make a movie in 70mm. The wimps can videotape all they want with their Arri Alexa and Red cameras.
So, just like the resurgence of vinyl in music sales, 70mm can be a real sales point for theaters wanting to sell FILM!!! to the general public, at least those parts of the public who give a damn about film.
Best case scenario: if Quentin Tarantino's push for 70mm with The Hateful Eight does well, the movie theater industry could have at least a couple hundred screens in North America and another few hundred across the globe able to show movies on film in classic 5-perf 70mm (and maybe 35mm too). All without the silly IMAX branding attached to it.
My hope is if The Hateful Eight succeeds commercially, it might leave behind a sort of high end boutique level infrastructure of 70mm capable venues that dozens of other real film productions can use to their advantage.
We all understand the challenges that stand in front of this movie release. There's lab difficulties in handling 65mm negatives and 70mm prints. Obviously a LOT of training is needed in getting projectionists up to speed in handling 70mm prints so they're not turned into shreds or at least scratched all to hell. Datasat needs to do something to get a bunch of DTS 70mm time code readers ready. Or some other folks need to figure out how to get 5/70mm prints paired up with state of the art sound formats like Dolby Atmos (they can do this; I ain't buying any friggin' excuses, QT shouldn't either).
The movie industry needs to do what it can to keep film alive for the sake of archiving its own product. Digital media SUCKS out loud in terms of long term archiving. Film is where it's at. 70mm is the pinnacle of film.
| IP: Logged
|
|
|
|
Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
|
posted 09-05-2014 01:03 AM
quote: Bobby Henderson
Datasat needs to do something to get a bunch of DTS 70mm time code readers ready.
The issue is more fundamental than that: someone needs to start making, or providing solid commercial support for 70mm projectors in commercial revenue earning service again.
We just bought one of the four final shutter assemblies that Kinoton Made for the DP70/AAII. Kinoton is now out of the film projector business. In fact, as far as I know, everyone is now out of the film projector business. Is there any model of 35/70 machine for which the full range of spares and support is still offered by the manufacturer or its approved agent? The people who are keeping these machines running today are already down to stockpiling parts, Ebay and putting want ads on sites such as this one.
That's OK if you're a rep house like ours, which plays 70mm half a dozen times a year and has five geeks on the staff with the knowledge, inclination and patience to persevere with it. But if the format is to make a serious, sustained comeback in the first run market, that means that there'll have to be installations which can run a print four times a day, being operated by someone who does not have advanced service and repair skills and with the same or better level of reliability as the DCP shows that are now the industry standard.
| IP: Logged
|
|
|
|
|
|
All times are Central (GMT -6:00)
|
This topic comprises 5 pages: 1 2 3 4 5
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
![[Smile]](smile.gif)
Printer-friendly view of this topic