Newsgroup: it.arti.cinema
Titolo: The Hateful Eight 70MM Film Print and Projection Details

http://goo.gl/vOn0BW
 
 
70MM Film Print and Projection Details
By Paul Rayton in conversation with Boston Light and Sound's Chapin Cutler
 
• all 70mm prints (for platter houses) will be shipped out entirely 
assembled, none will be assembled in the venues. The prints are being 
built up by a selected crew working near Magic Mountain (Santa Clarita), CA.
 
• the prints will be in one single transport case, custom made for the 
show. A large, flat case, similar to those sometimes used to transport 
Imax 70mm prints, back in the day.
 
• even though the show will have an intermission, there will be only ONE 
ROLL of film. In other words, the intermission is built into the movie, 
with 12 minutes of black film (and DTS [Datasat] timecode printed in it) 
in the middle of the built-up platter print. There is no audio during 
the intermission, but there is a 45-second "entr'acte" music bit at the 
beginning of the second half of the show.
 
• the film print itself weighs about 220 pounds.
 
• with the shipping box, the total shipping weight is 350 pounds.
 
• the total running time is a little over 3 hours, including the 
intermission.
 
• BLSI tracked down about 120 projectors, including 20 from 
Cinemeccanica and some Simplex XL 70’s. About 90 of the machines are 
Century JJ’s.
 
Close-up of vintage Ultra Panavision 70 projection lens. By Born, Schauburg
 
• all the platters are Christie AW 3 R’s converted to 70 mm.
 
• the projectors being sent out are 70mm ONLY. Most 35mm-specific parts 
for allowing them to run that gage are removed and stored. This was to 
minimize the chances for accidentally flipping a roller (etc.) into a 
35mm mode, or have a too large / too small loop hitting somewhere, as 
potential causes of scratching. All the systems will have an on board 
PTR film cleaner.
 
• Larry Shaw from BL&S had to commission about 125 different parts as 
they are no longer being made by the original suppliers.
 
• they had to commission a significant number of new primary lenses, 
taking an educated guess at the number of specific focal lengths which 
would be needed.
 
• they also had to have over 120 of the 1.25X anamorphic attachments 
built; some are based on the design of the anamorphic lens developed for 
d-cinema by ISCO, but are not identical. There is another design for 
longer throws and can be used in the reverse direction, i.e. as in the 
"reverse anamorphic" mode sometimes used by drive-ins with long throws.
 
• lamphouses are all from equipment sent into premature retirement when 
the digital juggernaut hit a few years ago. New reflectors were made for 
many of them.
 
• all the equipment that is shipped out to venues is on temporary 
install basis. The gear is scheduled to be taken out following the run. 
(This does not apply to venues which have pre-existing 70mm projection 
equipment, obviously!)
 
• FotoKem is producing the prints.
 
• BL&S is lining up projectionists to work through this run. They are 
contacting folks with film projection experience by approaching local 
Unions to see who might be available.
 
"The Hateful Eight" 70mm 1,25x ISCO projection lenses
 
ISCO Germany Widescreen Attachement 1,25x S anamorphic projection lens. 
Modified to have threads on the back. Sent an adapter to reduce down to 
a standard 2" lens barrel. Image by Stephan Shelley
 
ISCO Germany Widescreen Attachement 1,25x S anamorphic projection lens. 
Modified to have threads on the back. Sent an adapter to reduce down to 
a standard 2" lens barrel. Image by Stephan Shelley
 
"Was not able to use the prime lens BL&S sent. Image was too large for 
porthole. For regular 70mm on this screen we use a Kollmorgan 4" lens 
barrel and 4" magnicom. I was able to collapse the magnicom enough and 
put the 1.25x lens on the front. weighs in at around 25 pounds."
 
70mm editing table made by Prevost in Italy. Pix test done prior to 
giving the machine to Quentin Tarantino for editing.
 
Both the 15 perf 70mm and 5 perf 70mm modern flatbeds (the only two to 
ever exist) were destroyed last year. They literally ripped them apart 
and threw them into a dumpster.
 
However, there was a rusty old 70mm 5 perf unit found after an 
exhaustive search. It appears to be a unit from the '50's. I didn't get 
much detail on the make, but it was completely re-built and is fully 
functional. This is the unit Quentin used to build his reel's for The 
Hateful Eight.
 
It has a mirror hanging over the unit that reflects down onto the curved 
screen. It's pretty beastly, but man what a cool unit!
 
Comments
 
 
It's a tough job making 65mm film in a snow storm, BUT SOMEBODY HAS TO 
DO IT!
 
It has been made official, Chicago and its outlying areas are getting 
70mm prints of Quentin Tarantino's latest. This was confirmed by Julian 
Antos of the Northwest Chicago Film Society, and an article in the 
Chicago Tribune. This is truly something special. Not only will this be 
my first 70mm experience outside of IMAX, but my first Ultra-Panavision 
experience as well. For my 73 year old dad, this will be his first UP 
presentation since Khartoum.
 
Tamir Sharif, Chicago
 
---
Aggiungo che l'audio della versione 70mm sarà l'antico DTS in formato 
Lossy, al contrario del PCM non compresso delle versioni 4K.
 
-- 
Micro Guida al Cinema Digitale: 
http://goo.gl/n7H4z
 

 Lossy, al contrario del PCM non compresso delle versioni 4K.
 
Confermate ufficialmente le proiezioni a 70mm in Italia a partire 
Venerdì 29 Gennaio 2016.
Non so se oltre alla Sala Energia dell'Arcadia ci saranno altre strutture.


 Venerdì 29 Gennaio 2016.
 
Primi "entusiasti" commenti:
 
http://goo.gl/EO2Tdr
 
 
 From the moment the film began with the OVERTURE card depicting a 
horse-drawn carriage riding through snow in front of a stylized mountain 
range, Ennio Morricone's big lush score creeping in, there was a 
problem. The carriage was in the center of the screen, towards the lower 
third of the image, and right there, almost framing the carriage, was a 
soft-focus spot that kept dilating in and out of focus.
 
The film played for two hours, until the intermission, and nothing 
changed. For the entire thing, that maddening focus issue continued. 
When the lights came up, I heard several people talking about it, 
puzzled why no one seemed to be doing anything about it. Eventually, 
someone announced that they would be showing the second half of the film 
via digital projection because the 70MM was no longer working.
