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Topic: Tarantino's Hateful Eight to get 70mm roadshow engagement?
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Aaron Garman
Phenomenal Film Handler
Posts: 1470
From: Toledo, OH USA
Registered: Mar 2003
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posted 07-30-2014 10:36 AM
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“Yeah – We’re going to be doing 'The Hateful Eight.' ” is all Quentin Tarantino would say about his developing western when asked about the status of the movie at Comic-Con last weekend. But could plans be much further along that he's letting on? Well, it would certainly appear that way as before a frame has even been shot, the first poster/promo for the movie has arrived, and no it's not a fan made deal either.
Via the eagle eyes at Film Divider, next week's issue of Empire magazine will feature a full page one sheet (see below) for the movie, with a "Special Roadshow Engagement" for the movie promised for 2015, in CinemaScope too. Damn. But is this even possible? It certainly is. Kurt Russell — one of the actors who joined Tarantino for a live read of the script earlier this year (read our review) — revealed recently that an early 2015 shoot was being eyed, so a release late in the year is very feasible. And given that most of the action in this one is in a couple of contained locations, the production will likely be a bit faster than "Django Unchained." And it also looks like his plans to shoot in 70mm still seems to be intact.
Between this and a possible release of "Kill Bill: The Whole Bloody Affair," 2015 is looking like a banner year for Tarantino fans. Check out the poster below.
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Connor Wilson
Expert Film Handler
Posts: 190
From: Sterling, VA, USA
Registered: Jan 2011
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posted 07-30-2014 08:37 PM
Who gives about "Super CinemaScope?" I would just assume it's Tarantino's vanity plate for his 70mm film(s). Derivative, yes, maybe he got the license from Fox, maybe not, but who cares? Is Tarantino going to bypass the digital intermediate for 70mm prints? A film-out from a 4K DI to 70mm won't be sufficient enough. I want a print duped from the negative, not the DI bull.
I am very supportive of a 70mm revival, as in new films being shot and released in the format, but in my heart I know it's a wet dream. 65mm stock is hard to come by, IMAX is dropping 15/70mm support by the end of the year, and most exhibitors don't have the money for a 70mm projector and know next to nothing about proper handling of 70mm prints.
In the unlikely resurgence of 70mm, I wish that Datasat could get 70mm sound to be up to speed with DCP. I'm talking about a 48kHz/24bit multichannel 7.1 LPCM stream stored on a Blu-ray and synchronized with an updated timecode system. Perhaps an upgrade to Dolby Atmos or DTS MDA to match the 70mm picture quality. The old DTS-70 method is antiquated, but served its purpose.
I had no interest in Tarantino's last two films and am not very excited about The Hateful Eight other than 70mm.
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Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 07-30-2014 10:22 PM
Both the CinemaScope name/logo and that particular 70mm logo (first introduced in advertising for Star Trek II: The Wrath of Khan) are both registered trademarks. Although in the case of the 70mm logo I don't know who owns it. Paramount Pictures maybe? They used that logo the most, although 20th Century Fox used it heavily in advertising for Die Hard.
Obviously Tarantino is just doing a mashup of both brands as a double shot of nostalgia. I doubt if he would actually use anamorphic lenses and 65mm together since few if any theaters at all could actually show a 2.7:1 Ultra Panavision 70 image without letter-boxing it significantly.
Regarding the question of whether the movie will be forced through a digital intermediate and its limited resolution bottleneck, I'd give it a 50-50 chance. Hopefully the movie would be processed in a purely film-in and film-out method.
However, use of a digital intermediate in post wouldn't be the end of the world. But the film would have to be scanned and digitally treated in a lot higher resolution than mere 4K. To do the 70mm format any justice both the scan and DI would need to be at least 8K or higher. If the DI is rendered in 4K there wouldn't be any point in doing a film out to 70mm. Might as well just generate 35mm 'scope prints instead if the DI is only 4K.
While a purely film-based post production work flow would be nice it has its own drawbacks. There will be some generational loss going from original negative to interpositives and internegatives that would be used in color timing. By the time the image gets to 70mm release prints it's not going to look quite as great as the 65mm negatives even though the prints will beat the shit out of 2K and 4K digital shows (this is assuming proper film projection practices).
Obviously DTS/Datasat would be used in some form for the audio on 70mm prints. However, with DTS working on that Open MDA thing there is at least some chance of an advanced, object oriented sound mix being available to run with the 70mm prints. I'm wondering if there's any way to run a format like Dolby Atmos in conjunction with a 70mm print, other than somehow running a DCP and 70mm print in sync with each other.
quote: Connor Wilson
In the unlikely resurgence of 70mm, I wish that Datasat could get 70mm sound to be up to speed with DCP. I'm talking about a 48kHz/24bit multichannel 7.1 LPCM stream stored on a Blu-ray and synchronized with an updated timecode system.
A 7.1 24/48 LPCM track wouldn't need to be recorded onto something like a Blu-ray disc. A DVD-R disc would suffice. Even a USB memory stick would do fine. Even something like a 9.1 or 11.1 LPCM track could fit on conventional media. It wouldn't matter anyway, the audio data would be dubbed onto a hard disc system for actual playback.
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