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Author Topic: Hateful Eight, The (2015) Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 12-23-2015 08:12 PM                        amazingly, no one has posted this yet: 70mm version: 10 reels Ultra Panavision 70 - 2.76:1 Datasat (nee DTS) (soundtrack ships on both disks and a flash drive--a first?) Kodak 2383 - prints by Foto-Kem intermission between R6 and R7 the prints for changeover houses are configured thusly: shipping reel 1 - R1AB R2AB shipping reel 2 - R3AB R4AB shipping reel 3 - R5AB R6ABC shipping reel 4 - R7AB R8AB shipping reel 5 - R9AB R10AB there are ultrasonic splices between the A/B/C sections R6C is the intermission reel and consists of black film with timecode (why?); it shows up as "reel 13" on an XD20 and there is no sound through that reel, except (*** IMPORTANT ***) there _is_ a tail pop (quick beep) at the end of R6C. Be sure not to play this tail pop. R6C actually does have c/o cues that could presumably be followed in order to prevent this, but that is not very helpful for venues with curtains that will close them (and the projector douser) during the intermission. Edit: R3 (start of shipping reel #2) begins with a normal scene with picture and quickly cuts to black (intentional, but annoying); R4 (end of shipping reel #2) cuts to black shortly before the motor cue (also intentional and also annoying) [ 12-30-2015, 05:22 PM: Message edited by: Scott Norwood ]  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 12-29-2015 07:30 PM                    DCP of the roadshow version: I didn't note these to the second so programming your automation will still require your own test run but will give you the idea and should be sufficient to get you through a manually operated show. Overture (with graphic on screen the whole time) runs to 3:20. Followed by a stylized Weinstein logo, and a Cinerama logo. Intermission comes in at about 1:41. It says Intermission and then goes dark and quiet. It's a rolling intermission. We come back in with the entr'acte (it's actually a singer) just after 1:53 and movie resumes about 1:54. Studio supplied credit offset (unverified): 3:02:52 Total length: 3:07:14  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 12-30-2015 09:22 AM                     Is the DCP 2k or 4k?  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 12-30-2015 09:58 AM                    It is 4K. 175GB.  |  IP: Logged Jim Cassedy Phenomenal Film Handler Posts: 1661 From: San Francisco, CA Registered: Dec 2006 posted 01-05-2016 10:33 AM                     quote: Scott Norwood there _is_ a tail pop (quick beep) at the end of R6C. This must be unique to your particular print. I've run two different 70mm prints and haven't encountered this. quote: Scott Norwood R6C is the intermission reel and consists of black film with timecode (why?) As you probably know, DTS playback units are usually configured to switch to SOMETHING if they loose time code for a set period of time. At my location, the XD-10 everything is run manually, so its' automation outputs are not connected to switch to anything. But if you were at a venue where it tried to switch your processor to a (possibly non existent) Dolby Digital or SR input, it might introduce some noise into the audio system output. So, I believe the time code simply insures "digital silence" during the intermission. Also, I like having the time code there during the intermission because I can check the read-out on the DTS player and see exactly how much time I have left in the intermission. (Very helpful if I need to run to the restroom!)  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 01-05-2016 02:18 PM                        The tail pop may actually be on the tail leader of R6C ("R13"). Not sure if your prints were pre-built platter prints or reel-to-reel prints, but it is apparently (and correctly) not part of the platter prints. On the reel-to-reel prints, the (easy) workaround is to mute the processor once the "INTERMISSION" title fades in. Having the timecode on the intermission reel to prevent a reversion to some other sound format makes perfect sense.  |  IP: Logged Allan Riddelll Film Handler Posts: 33 From: msida , malta, europe Registered: Jan 2009 posted 01-08-2016 09:55 AM                     Well Steve I'm glad you received a DCP of the roadshow version. I've just ingested mine and I didn't even have a choice. Mine runs 2.47.48 and the files do state MLTPLX (Multiplex). Whether this is a concious decision from the UK distributors is debatable but I was quite looking forward to introducing a bit of showmanship again. I know these embellishments are essential in 70mm presentation but not all multiplex operators are cheap booth monkeys who are pig ignorant of overture, entr'acte and intermissions. I am pissed off big time !  |  IP: Logged Ian Freer Expert Film Handler Posts: 135 From: Wellington, New Zealand Registered: Oct 2003 posted 01-08-2016 02:57 PM                     How has the aspect ratio been treated on the DCP's, both roadshow and multiplex?  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 01-09-2016 07:06 AM                     Well I guess there is not much choice, a 4096 pixel wide scope container with a letterboxed 2.76 image I'd say. - Carsten  |  IP: Logged

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