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This topic comprises 2 pages: 1 2
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Topic: Indiana University Cinema now open!
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Aaron Garman
Phenomenal Film Handler
Posts: 1470
From: Toledo, OH USA
Registered: Mar 2003
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posted 01-13-2011 11:32 PM
Just attended the public opening of the new facility in Bloomington, and must say, it was awesome! Good job to all those involved and giving the people film done right! Here is some information about the new facility:
quote:
ABOUT THE IU CINEMA PROJECT
Located in the heart of the IU Bloomington campus, the nearly 300-seat IU Cinema will serve as an exhibition space for IU film courses, film festivals sponsored by various IU departments, campus cine-clubs such as City Lights and Underground Films, and annual showings of 16mm films directed by IU students in film production courses. It will provide a venue for major film conferences such as Film Indiana or the Society for Cinema and Media Studies, as well as for occasional visits by well known filmmakers and scholars. Additionally, the Cinema will operate as a film museum, offering programs to students and the public showcasing motion pictures from local, national, and international archives.
SHOWTIME!
The Cinema will be used afternoons and evenings as many as seven days a week for film showings. Special noon-hour showings are also under consideration. It shall be a curatorial theater drawing upon the resources of IU and other scholarly institutions which support instruction and provide cineliteracy for students and the community at large. The majority of showings will be free; tickets will be sold at the box office for special events. Large film courses will also be held in the Indiana University Cinema to immerse students in film scholarship in an inspirational setting.
TECHNOLOGY
A full range of past and present technologies will be utilized for projecting motion pictures, as well as new digital technology representing the future of cinema. Two projectors which convert from 16 to 35mm are among the past technologies, as well as projectors for DVD, VHS, and slides. Additionally the high quality digital projector and sound system round out the inventory of present technologies, taking advantage of latest in high-definition, state-of-the-art technology creating the most life-like of movie-going experiences. The IU Cinema is under consideration for THX sound system certification.
IU Cinema
AJG
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 01-14-2011 09:55 PM
I've been reasonably successful in putting in 70mm. But the format of the media is ALWAYS dependent on the client. I don't "push" a format. I try to ask questions about what it is they want to run and then specify equipment that will accomplish that. There was little to no interest in accommodating 70mm at this venue and lets say they did want 70mm...just what sound processor would you use? A CP200? That is the only one I would use unless DTS-70 is all you want and have no need for 35mm magnetic...etc. However, the CP200 is now nearly 31 years old and has been out of production for 18-years. Even I am a bit wary about putting more in (and I service 5 or 6 very active ones...all with 70mm equipment attached. All have 35mm magnetic equipment attached too.) The alternative is to come up with some half-assed system using kludged together crap and cram it down some form of "modern" processor, like the CP650 that can not handle 70mm properly. All of this to run 70mm once a year or if someone gets the idea to run a festival.
Then there is the space...do you sacrifice the quality of the formats (both video and film) that the client really will use on a regular basis in order to slam 70mm in there, somewhere?
And note, I have yet to mention the financial impact of it.
Nobody loves 70mm more than I. I truly wish that 70mm (5/70) were THE standard format we use now but that has NO bearing on what is best for the client.
As it is, this venue will be able to present both film (35mm and 16mm) and Digital (2K, 4K at 2D and 3D (Dolby), both home grown and anything that DCI can throw its way) at a very high level with superior sound to most venues. Heck, they have an HDCAM-SR in their rack too plus can play all of the legacy Beta formats. Most any of the common film aspect ratios are accommodated too (including 16mm Scope).
I'm not kidding about the booth size either. It is VERY tight in most all dimensions. There is a lot of functionality packed into a very small space. But if you want to see a booth with 70mm and more space...just look at the AFI/Silver pictures in the gallery. It is nice having a booth that wide AND a theatre that is over 110-feet long to minimize keystone/shifting.
I have two 4-projector (film on one screen) booths that I've personally installed and take care of...that is two more than most. But believe me, if a client calls about wanting to put in 70mm...I'll be the first to ask "How many?"
-Steve
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 01-15-2011 06:41 PM
Nice rendering, Steve. But where's the all-important Mr. Coffee table and fixins? ![[thumbsup]](graemlins/thumbsup.gif)
And I see they went with wall-to-wall "port" glass. We have that at the museum -- architects seem to LOVE that -- letting all that high-tech gear be visible. And I HATE it. First off, it does not afford the same sound proofing as a wall with little holes in it -- it is NO wall with a HUGE hole in it. Warning: Don't talk too loud in there.
Then there is the issue of good optical port glass. We assumed the booth with wall-o-glass had to be plate glass as who in their right mind would spend the money for that much coated optical glass? We came up with the idea of having a glass cutter cut out holes for each of the projectors and then gluing in pieces of actual optical glass. Then we found out that the architect had solved that problem for us -- seems yes indeed, he actually specing coated optical glass for the HUGE expanse of window. And it was imported from Italy!! THAT's how much they wanted that all-glass booth front to show of the tech. How did you guys deal with it? How did you get optical glass for the front of the projectors?
Another problem -- our window is not tilted so the projected light bounces right back to the projector mechanism and that metal bounces right out the window onto the screen and the balcony walls. And that is actually the movie image out of focus, but moving none-the-less; talk about distracting! We had to drape the front of the projectors with black velour.
And we quickly found out, with that huge window, you can't keep any lights on in the booth as it increases the ambient light in the theatre. Even with very controlled down lights, the reflection off whatever object they are hitting does reflect back out to the theatre. During our testing an alignment before opening, I was standing on stage and noticed my shadow on the screen. I immediately tried to track down the errant light but there was none in the theatre to cause it, On closer inspection I found that it was the supposedly "very controlled" down lights in the booth which were reflecting off the big white rewind table and that reflected off the back wall off the booth where there was a calk board and white papers pinned to it. That was enough to reflect back out to the screen. We wound up having to take off the note board and mount it elsewhere and we had to paint everything black in the booth and had to use winky lights exclusively during every show. Plus, I like a booth where you are not in a veritable fishbowl where everyone can turn around and look at you while you are trying to fix a problem.
Manny -- about LOA -- how was the color on that print? Was it a new(er) release? When I ran LOA back around 1995, they claimed there were no mag prints, which of course means nothing, because they hardly ever really knew what they had in their inventories or they just outright lied. Either way, unless you were AFT or MOMA, half the time you got screwed.
We did get a lab new SR print. With reel seven totally mistimed so that it was so dark, it was almost unwatchable. Then in one scene Alec Guinness turn out an over head lamp and you could hear the audience groan as it got even darker....one guy yells out "Leave the damn light on." Only in Brooklyn.
Columbia send a replacement print the next day.
I am assuming that by now they've struck 35mm with SR-D.
Manny, except for the very early days of CinemaScope where the prints were mag only (and aspect ratio was 2.55:1), the 4trk mag prints were always striped on optical prints only with Fox sprockets. The inside track was striped over half the optical track, this way it could be played optically (sort of) for theatres without mag systems. However, you would be pulling your hair out if you had to run optical that way, it sounded so bad.
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