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Author Topic: BLADE RUNNER 2049 70MM? David J Hilsgen Expert Film Handler Posts: 192 From: SAUK RAPIDS,MN . USA Registered: Aug 2004 posted 08-26-2017 09:43 PM                     Is it the next 5/70  |  IP: Logged Terry Monohan Master Film Handler Posts: 379 From: San Francisco CA USA Registered: May 2014 posted 08-27-2017 02:25 PM                     Just because Warner ran a trailer in 70mm does not mean a release in theatres will be shown in 70mm film. We will have to wait and see If they make a few 70mm film prints, just a blow up from the reg image DCP probably.  |  IP: Logged Jim Cassedy Phenomenal Film Handler Posts: 1661 From: San Francisco, CA Registered: Dec 2006 posted 08-27-2017 02:49 PM                     IMDB lists 70mm as one of the release formats- - but of course you know the usual disclaimer about believing everything you read on IMDB, or the internet in general. So- - I guess we'll all have to wait & see.  |  IP: Logged Daniel Schulz Master Film Handler Posts: 387 From: Los Angeles, CA USA Registered: Sep 2003 posted 08-27-2017 10:07 PM                        I am pretty sure it will be, as Warner Bros seems to be making a habit of this - Kong: Skull Island, Wonder Woman, Dunkirk. Seems likely that Blade Runner and Justice League will get the 70mm treatment. I think we'll see 70mm prints for Murder on the Orient Express as well, from Fox, and I'm hearing tantalizing rumors that other studios are thinking of joining the party.  |  IP: Logged Julian Antos Film Handler Posts: 76 From: Chicago, IL, USA Registered: Nov 2009 posted 08-28-2017 01:04 PM                     About two weeks ago WB told us they would not be making prints of this, but a lot can change in two weeks I suppose. Really hoping Fox follows through with ORIENT EXPRESS.  |  IP: Logged Marcel Birgelen Film God Posts: 3357 From: Maastricht, Limburg, Netherlands Registered: Feb 2012 posted 08-28-2017 04:14 PM                     While I obviously endorse this 70mm revival of late, I'm not sure what the merits could be for this movie. It was filmed entirely on digital cameras and judging by the available trailer material, has to be a crapload of CGI in just about every shot. Yes, it was acquired in 6K, but after framing, cropping and post-processing, you can expect the end-result be close to 4K. So, why not just focus on a 4K release? That way, you can at least enjoy the benefits of multi-dimensional sound. Those high-profile 70mm "roadshow" releases are expensive, so why not reserve them for features where it actually adds something worthwhile to the experience?  |  IP: Logged Jonathan Goeldner Phenomenal Film Handler Posts: 1360 From: Washington, District of Columbia Registered: Jun 2008 posted 08-28-2017 05:53 PM                     I agree - I'd much more want to see 'Orient Express' in 70mm than this.  |  IP: Logged Bill Brandenstein Master Film Handler Posts: 413 From: Santa Clarita, CA Registered: Jul 2013 posted 09-12-2017 01:29 PM                     OK Daniel - what would it take to get an immersive soundtrack system to lock up with the DTS time code on a 70mm print? Surely it can't be THAT hard. If I can get a computer to play back 5.1 to a Super 8mm print at home, why can't immersive-to-70 be done in a booth?  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 09-12-2017 03:24 PM                     How many 70mm projectors will we find in booths/auditoriums with immersive audio systems, or vice versa? - Carsten  |  IP: Logged Sean McKinnon Phenomenal Film Handler Posts: 1712 From: Peabody Massachusetts Registered: Sep 2000 posted 09-12-2017 04:10 PM                        Bill, I believe it could be done and possibly not be too difficult. The trick is getting Dolby on board.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 09-12-2017 06:35 PM                     There were a few months when Barcos Alchemyserver was lacking Atmos capability. Installations of Barcos flagship laser projector thus were not able to play ATMOS. There was no way to drive these projectors with other servers. So, what they did was, they ran Dolby DSS servers in sync to the Alchemy server, the Alchemy server serving the picture, the Dolby server serving the ATMOS soundtrack through the CP850. It should work the same way with a film projector running as a master (or slave), with a tach reader or DTS sync track. I just don't think there is much interest in pursueing that approach. No money in it. You can sell 70mm as a special, or immersive audio, but doing both at the same time is probably not successful. - Carsten  |  IP: Logged Marcel Birgelen Film God Posts: 3357 From: Maastricht, Limburg, Netherlands Registered: Feb 2012 posted 09-14-2017 01:02 PM                     I'm not aware of any DTS time code sync functionality being present in the current CP850 firmware. Without this functionality, it will be a pretty futile exercise. Even if you manage to hit Play at exactly the right moment, good luck keeping your soundtrack lip-sync during the entire show. But yes, there are ways to do it, DTS has proven it can work reliably for more than two decades now, but it would at least need to involve some investments from Dolby, with regards to Atmos.  |  IP: Logged Tyler Purcell Expert Film Handler Posts: 180 From: Van Nuys, CA Registered: Dec 2015 posted 09-17-2017 11:46 PM                        Random question, but film based DTS never changed right? Its the same system currently used on 70mm prints eh?  |  IP: Logged Daniel Schulz Master Film Handler Posts: 387 From: Los Angeles, CA USA Registered: Sep 2003 posted 09-17-2017 11:53 PM                        quote: Tyler Purcell Random question, but film based DTS never changed right? Its the same system currently used on 70mm prints eh? The technology never changed. DTS sold their Cinema division to Datasat, and Datasat has since licensed the technology to produce the timecode tracks and encoded CD-ROMs to a third party, but it's all the same system that's been in place since 1993. Regarding syncing to one of the immersive systems - as has been suggested in the earlier posts, this is technically very feasible, but as a commercial endeavor somewhat iffy. It's not clear why Dolby, ATI (Datasat's new owners), Barco or Auro would invest in the R&D necessary to make this work for ~100 screens and 2-3 movies per year. I mean if I were independently wealthy *I'd* do it, just because it would be cool, but it's going to be a tough sell to the companies that could.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 09-18-2017 08:54 AM                     I think pairing DTS time code with d-cinema audio formats (like Dolby Atmos, DTS-X or high bit rate & uncompressed LPCM) is a worthwhile endeavor. The very act of filming a movie in 70mm format and making prints of it is something quite a few industry people already feel is costly and unnecessary. They think "digital" is good enough (even if the implementation of 'scope is a letter-boxed, home-TV quality kind of thing). The 70mm film productions are something meant to please the minority of us who appreciate the difference in image quality. Murder on the Orient Express will reportedly have a Dolby Atmos mix. The movie was shot on 65mm film. Currently viewers will not be able to watch the movie in 70mm film quality while hearing its Atmos mix at the same time. If you want the 70mm visuals you'll have to settle for a 5.1 channel lossy compressed digital audio mix. If you want the Atmos mix you'll have to settle for lower resolution digital video. If 70mm film prints can be paired with the very best audio formats available that will increase their appeal.  |  IP: Logged

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