If the largest auditorium has side masking (a feature that’s actually in new Regal builds), then they should install a century JJ 35/70MM projector & run classics like “Lawrence of Arabia”, “2001”, etc…
I first saw this movie (at the age of seven) about 11 years ago on USA network’s “up all night” lineup. Great movie. I hope there will be another movie of it’s type for this generation.
Being from Chicago, I will have a list of the Chicago-area bookings soon.
And I hope to get my first theaters open by next spring/summer. My mission will be to bring back the sense of showmanship to the movies. And lower tickets too.
What Ken said. That’s why I believe that if the industry wants to survive, they should take a look into shooting selected films for the BIGWIDESCREEN. On 2/17/09, people will already have digital on all channels, then Netflix is doing this. Then take into account the high —– ticket prices, loud moviegoers/cellphones, IMAX being neutered etc… What reason would people have to go out to the movies?
This whole “digital” is better will blow up in their faces very very soon. Count on it.
Oh, and these (boy do we need to get these on myspace or some other teen-based site) View link View link
Since Jon Favreau has expressed interest in shooting parts of “Iron Man 2” in IMAX, perhaps he should take a look at shooting major scenes in 65MM, and create 70MM DTS prints to be released in selected theaters in New York, LA, DC, Chicago etc… It’s release date is 5/7/10. But with 70MM, you could have a special limited run starting on 4/30/10 in 70MM, then a national release in 35MM, and DLP. Of course this is wishful thinking, but I want to try and get people to take a look at this.
What they fail to mention is that they have a life span of 3-5 years, then you must spend another $100,000 to get ‘em replaced. Multiply that by 14 screens, and you’ve got yourself 1.4 million to spend. Of course, the best 35/70MM projectors last for years. Did I mention that smart hackers can download movies easier now?
Chains, when you open up a new theater, how about having half film projection, and half digital (but with backup projectors)?
I and a lot of advocates of film will sit back & watch this blowup in the faces of the impatient noobs making this decision.
Wow. Village North’s got a new owner. I must say, it will probably become a better place because of it.
Of note, I am not connected to “Visionary Theatres”. I have a name for my up-and coming chain (hopefully sometime next year), but I want it to be a suprise.
I’ve heard rumors that theaters with really large screens may get locked out due to digital auditoriums having top-down masking, and the fact that most are pretty small.
And higher admission prices. sigh Studios better crank out quality movies like “Dark Night” or “Tell No One”, or else people will just wait for the blu-ray release. I know one thing, this will end up backfiring if studios are not careful. Count on it.
Just don’t throw out the 35MM equipment that may be at the other Muvico locations. I’ve heard rumors that these 2/4k projectors can wear out after a few years, meanwhile film projectors last for decades.
Sorry, I just had to get that out my system. BTW, I went to the library and looked at some microfilm from December 87, and it showed workers doing touchups in front of the theater. But the thing that caught my eye was the marquee, which was large, and had “McClurg Court” in it’s original typeface. About what year did CO get rid of that & replace it with this?
“The final concern to address is that of the director’s vision. When a 35mm print of a film is made, the director and cinematographer work with the film processing lab to adjust the contrast, tint, and color of each scene or shot. This process is called “timing.†A digital projector could “time†the movie any way he/she desires. All the controls are there to be manipulated.
There is now a concern as to what NATO will do with the films if and when digital projection gets approved. Rule 8 of their standards states, “Exhibitors request the ability to select language, rating version, etc.†This simple sentence is a frightening one. Foreign films could possibly no longer be subtitled. They would be dubbed in English and the audience wouldn’t be able to hear how the actors really act. Theatre owners could also potentially show a censored, PG-13 cut of a film that the director intended to be shown in R form. Putting control over these factors into the
owners’ hands instead of the filmmakers’ is the wrong move to make. If two theaters in two cities show different versions of the film, which city is seeing the better version? Film critics will have to either try to see all versions (if possible) or make specific note of which version they saw. In any case, it could create problems."
Movie534, you should try contacting one of the editors of the 65/70MM workshop. They would like to get ideas on how to contact filmmakers on shooting in 65MM. I myself was thinking of some sort of myspace page or fansite to get my fellow young generation interested in the WIDESCREEN.
Here’s a mini article from the Chicago Tribune, 12/9/83
“Curtain rises for Chestnut Theatres' ‘return to opulence'
By Sid Smith
THE CHESTNUT Stations Theatres, latest entry in the sweepstakes for the trendy North Sider’s movie dollar, are scheduled to open at 5:15pm Friday with “Yentl” and “Sudden Impact”. Plans are for the theater complex, housed in an 80 year old post office at the corner of Clark and Chestnut streets, to have five screens operating and seat 1,300. For the first week, “Yentl” will occupy two screens and “Sudden Impact” two others. Next Friday, “To Be or Not to Be” and “Uncommon Valor” take over two of those screens; a fith is slated to open in January.
Essaness Theatres Corp, which owns the complex, spent $1.5 million restructuring the building’s interior to create what executive vice president Jack Belasco called “a return to opulence”. The building’s Art Deco exterior was scarcely altered.
THE FINISHED product is to include chandeliers bought at auction from a defunct movie palace in San Francisco, silver colored wall tiles imported from Belgium and a pink-and-green Art Deco carpet. Attendants behind a sleek black counter will dispense the traditional vending items; a direct line for calling cabs will be in the lobby. One of the theater’s five comfortably large screens can handle 70MM film, and the other four are for 35MM pictures. Admission will be $5."
There was no picture with the article, and I got this from the microfilm department at HW library center.
Meanwhile, keep the other half, if not all of the screens with backup 35/70MM equipment, because I and directors like Chris Nolan and Steven Spielberg believe that a film should be a ‘film’ experience.
But movies shot with a digital camera (Zodiac, Avatar) should be shown digitally.
If the largest auditorium has side masking (a feature that’s actually in new Regal builds), then they should install a century JJ 35/70MM projector & run classics like “Lawrence of Arabia”, “2001”, etc…
T2 did have a 10pm screening on 7/2/91 at WT Lower Level. And I remember the Drury Lane in Evergreen Park, but I never went inside.
I miss these places. It just seems that they had character.
I first saw this movie (at the age of seven) about 11 years ago on USA network’s “up all night” lineup. Great movie. I hope there will be another movie of it’s type for this generation.
Being from Chicago, I will have a list of the Chicago-area bookings soon.
And I hope to get my first theaters open by next spring/summer. My mission will be to bring back the sense of showmanship to the movies. And lower tickets too.
What Ken said. That’s why I believe that if the industry wants to survive, they should take a look into shooting selected films for the BIGWIDESCREEN. On 2/17/09, people will already have digital on all channels, then Netflix is doing this. Then take into account the high —– ticket prices, loud moviegoers/cellphones, IMAX being neutered etc… What reason would people have to go out to the movies?
This whole “digital” is better will blow up in their faces very very soon. Count on it.
Hey peeps, another type of screen people should aspire to
View link
Another nail in digital cinema. If 65MM were to return, moviegoing will ge a lot better.
Support these guys: http://www.in70mm.com/workshop/index.htm
“or if someone shines a laser pointer into the video projector’s lens (thus damaging the projector)?”
And remember folks, these things can’t be refurbished like 35MM projectors can!
Oh, and these (boy do we need to get these on myspace or some other teen-based site)
View link
View link
Since Jon Favreau has expressed interest in shooting parts of “Iron Man 2” in IMAX, perhaps he should take a look at shooting major scenes in 65MM, and create 70MM DTS prints to be released in selected theaters in New York, LA, DC, Chicago etc… It’s release date is 5/7/10. But with 70MM, you could have a special limited run starting on 4/30/10 in 70MM, then a national release in 35MM, and DLP. Of course this is wishful thinking, but I want to try and get people to take a look at this.
I agree with Movie534. A movie shot for 70MM would crush any of these 4k or whatever digital format. In fact, take a look at these
View link
View link
What they fail to mention is that they have a life span of 3-5 years, then you must spend another $100,000 to get ‘em replaced. Multiply that by 14 screens, and you’ve got yourself 1.4 million to spend. Of course, the best 35/70MM projectors last for years. Did I mention that smart hackers can download movies easier now?
Chains, when you open up a new theater, how about having half film projection, and half digital (but with backup projectors)?
I and a lot of advocates of film will sit back & watch this blowup in the faces of the impatient noobs making this decision.
Wow. Village North’s got a new owner. I must say, it will probably become a better place because of it.
Of note, I am not connected to “Visionary Theatres”. I have a name for my up-and coming chain (hopefully sometime next year), but I want it to be a suprise.
Oh boy. Impatience is something ain’t it?
Note to hollywood. Going all digital will not help the quality of movies!
If I can get the capital, I’d like to buy it. I’m in the process of trying to get my theater corp off the ground by next summer.
Don’t worry, I’m writing a business plan. No Village-like operation will come from me.
And the velvet red seats too!
I’ve heard rumors that theaters with really large screens may get locked out due to digital auditoriums having top-down masking, and the fact that most are pretty small.
And higher admission prices. sigh Studios better crank out quality movies like “Dark Night” or “Tell No One”, or else people will just wait for the blu-ray release. I know one thing, this will end up backfiring if studios are not careful. Count on it.
Just don’t throw out the 35MM equipment that may be at the other Muvico locations. I’ve heard rumors that these 2/4k projectors can wear out after a few years, meanwhile film projectors last for decades.
McClurg Court come back!
Sorry, I just had to get that out my system. BTW, I went to the library and looked at some microfilm from December 87, and it showed workers doing touchups in front of the theater. But the thing that caught my eye was the marquee, which was large, and had “McClurg Court” in it’s original typeface. About what year did CO get rid of that & replace it with this?
http://www.flickr.com/photos/bwchicago/271736037/
Here’s an excerpt I found from http://www.filmbrats.com/bts/bts3.html
“The final concern to address is that of the director’s vision. When a 35mm print of a film is made, the director and cinematographer work with the film processing lab to adjust the contrast, tint, and color of each scene or shot. This process is called “timing.†A digital projector could “time†the movie any way he/she desires. All the controls are there to be manipulated.
There is now a concern as to what NATO will do with the films if and when digital projection gets approved. Rule 8 of their standards states, “Exhibitors request the ability to select language, rating version, etc.†This simple sentence is a frightening one. Foreign films could possibly no longer be subtitled. They would be dubbed in English and the audience wouldn’t be able to hear how the actors really act. Theatre owners could also potentially show a censored, PG-13 cut of a film that the director intended to be shown in R form. Putting control over these factors into the
owners’ hands instead of the filmmakers’ is the wrong move to make. If two theaters in two cities show different versions of the film, which city is seeing the better version? Film critics will have to either try to see all versions (if possible) or make specific note of which version they saw. In any case, it could create problems."
Humm, thoughts anyone?
Here’s something that the higherups need to read
View link
Movie534, you should try contacting one of the editors of the 65/70MM workshop. They would like to get ideas on how to contact filmmakers on shooting in 65MM. I myself was thinking of some sort of myspace page or fansite to get my fellow young generation interested in the WIDESCREEN.
The 65/70MM workshop
http://www.in70mm.com/workshop/index.htm
Now folks, I like digital, but it should not take over everything.
You’re right, and when it evenually happens, I’ll be quoting Will Smith from I, Robot.
“Somehow, I told you so just doesn’t quite say it.”
Here’s a mini article from the Chicago Tribune, 12/9/83
“Curtain rises for Chestnut Theatres' ‘return to opulence'
By Sid Smith
THE CHESTNUT Stations Theatres, latest entry in the sweepstakes for the trendy North Sider’s movie dollar, are scheduled to open at 5:15pm Friday with “Yentl” and “Sudden Impact”. Plans are for the theater complex, housed in an 80 year old post office at the corner of Clark and Chestnut streets, to have five screens operating and seat 1,300. For the first week, “Yentl” will occupy two screens and “Sudden Impact” two others. Next Friday, “To Be or Not to Be” and “Uncommon Valor” take over two of those screens; a fith is slated to open in January.
Essaness Theatres Corp, which owns the complex, spent $1.5 million restructuring the building’s interior to create what executive vice president Jack Belasco called “a return to opulence”. The building’s Art Deco exterior was scarcely altered.
THE FINISHED product is to include chandeliers bought at auction from a defunct movie palace in San Francisco, silver colored wall tiles imported from Belgium and a pink-and-green Art Deco carpet. Attendants behind a sleek black counter will dispense the traditional vending items; a direct line for calling cabs will be in the lobby. One of the theater’s five comfortably large screens can handle 70MM film, and the other four are for 35MM pictures. Admission will be $5."
There was no picture with the article, and I got this from the microfilm department at HW library center.
Meanwhile, keep the other half, if not all of the screens with backup 35/70MM equipment, because I and directors like Chris Nolan and Steven Spielberg believe that a film should be a ‘film’ experience.
But movies shot with a digital camera (Zodiac, Avatar) should be shown digitally.
Can’t let that happen. We’ll protest worldwide if we must.