Bigjoe – For the VHS and LaserDisc releases of Grimm the source they used was the 35mm ‘scope reduction of the Cinerama version that was created for the general release after the Roadshow. It’s cropped on the sides and the panel mis-matching and join lines are pretty visible. That version airs on TCM from time to time.
Yes, they did but based on what I know of HTWWW, it did not require the amount of restoration work that Grimm would. Grimm’s original negatives suffer from water damage and a host of other problems. HTWWW has also been a perennial best seller on video, even prior to the restoration. Grimm…wasn’t.
“I hope someone with indepth technical know how can answer a question. if the Dome was able to find a print of Grimm good enough to show a few years back why isn’t it good enough to use for mastering for a Blu-ray disc?”
BigJoe – Using a theatrical print would probably not yield a very pretty image. The contrast from the dye-transfer print would obscure shadow detail and it wouldn’t be as sharp as going back to the original elements. Other video labels might do it if there were no other option – though the expense of making three transfers and then attempting to color correct and clean up the join lines might make it prohibitively expensive for something that can’t sell more than a couple of thousand copies. Warner’s studio policy regarding restorations means they wouldn’t do it that way.
The new “unrestored” 70mm prints are from an IP made in 1999 and are not good at all – baked-in dirt, negative tears, faded color, scratches, etc. The new 4K DCP (and the IMAX derivative) is from a new cleaned-up scan of the original film elements; it is stunning and is the current definitive version of 2001 for large screens.
The only transfer of Hawaii that exists in HD is of the general release version, MGM has not restored or transferred the Roadshow version in HD. Twilight Time does not do transfers or restorations, they release the masters that the studios supply them with. MGM needs to step up and properly restore it.
RogerA – the new 35mm print of “2001” that I ran back in 2004 was pillarboxed on the sides to preserve the 2.20:1 aspect ratio. The current 2K DCP of “2001” is also pillarboxed, presumably the new 4K will do the same.
Howard – unfortunately there were already a few minor projection scratches visible on the print at the show I saw on Saturday. Thin black tramlines on the extreme right side that should not be there on what would have been the 6th or 7th running of the print (hell, they shouldn’t be there even after the 100th running of the print). Plus some dirt/lint near the reel changes and visible splicing tape.
Howard – 70mm used to have five backstage speakers: Left, Left/Center, Center, Center/Right, and Right. The mixers eventually used those channels on the prints for subwoofers, so many theatres took them out.
Mark – “pillarboxing” is when they put a flat image inside the ‘scope digital container on a DCP. Or it can refer to a theatre that has a scope screen and shows a flat film without bringing in side masking. Basically, the reverse of “letterboxing”.
Regarding the seats, I didn’t even realize they had the rumble feature beforehand. I may not have been paying attention during the demo as we got there just as the trailers started. I could feel vibrations at certain points in the movie where it seemed logical but it wasn’t until about halfway through it that I realized the seats were vibrating. So they’ve either toned it down or I’m not sensitive to it. Be curious to see another high-powered movie there soon and see if I react differently to the effect.
I saw Blade Runner 2049 Saturday at the 11:15 am show – there were about 15-20 other people there. My first time at a Dolby Cinema showing and I echo the words of your post back on 9/29. With just a bit more thought into light placement this would be a 100% winner of an auditorium. The blue aisle lights that go up to the screen cast a blue glow and the red exit light to the immediate left cast a red glow. Also, the high-level sound from the surrounds was causing something in the ceiling to rattle. Plus the overall level was too high, could tell the speakers were starting to distort. The seats did rumble, but I didn’t find it distracting as others have since it seemed they rumbled coinciding with scenes that had heavy bass levels.
Other than the light issues, the image is superb, though it would get even better if the scope screen was masked properly on the top & bottom.
For a $12 matinee ticket and extremely comfortable seats, I can’t complain too much though I hope AMC listens to the note I sent in about the lighting issues.
Yeah, not exactly the kid of comment from staff that should be made public. He blames the poster for being late…except the poster wasn’t late. And, sorry, with a nearly 4 hour event the venue should open earlier than usual to be certain of starting the show on time.
That’s a shame about Jaws (and I suspect the other classics this month) – Universal has a very nice DCP of that title available, and I ran it in 35mm at the Lafayette about 13 years ago.
How many people were there for the show? What type of gear did they bring in to run it? I would have liked to be there but one-day events are hard to get to in the summer.
DEFG: thank you for the kind words – the 10 ½ years I spent doing those shows at the Lafayette were very rewarding.
Bigjoe – For the VHS and LaserDisc releases of Grimm the source they used was the 35mm ‘scope reduction of the Cinerama version that was created for the general release after the Roadshow. It’s cropped on the sides and the panel mis-matching and join lines are pretty visible. That version airs on TCM from time to time.
Yes, they did but based on what I know of HTWWW, it did not require the amount of restoration work that Grimm would. Grimm’s original negatives suffer from water damage and a host of other problems. HTWWW has also been a perennial best seller on video, even prior to the restoration. Grimm…wasn’t.
Moviebuff – if “what” is projected properly?
“I hope someone with indepth technical know how can answer a question. if the Dome was able to find a print of Grimm good enough to show a few years back why isn’t it good enough to use for mastering for a Blu-ray disc?”
BigJoe – Using a theatrical print would probably not yield a very pretty image. The contrast from the dye-transfer print would obscure shadow detail and it wouldn’t be as sharp as going back to the original elements. Other video labels might do it if there were no other option – though the expense of making three transfers and then attempting to color correct and clean up the join lines might make it prohibitively expensive for something that can’t sell more than a couple of thousand copies. Warner’s studio policy regarding restorations means they wouldn’t do it that way.
The new “unrestored” 70mm prints are from an IP made in 1999 and are not good at all – baked-in dirt, negative tears, faded color, scratches, etc. The new 4K DCP (and the IMAX derivative) is from a new cleaned-up scan of the original film elements; it is stunning and is the current definitive version of 2001 for large screens.
The only transfer of Hawaii that exists in HD is of the general release version, MGM has not restored or transferred the Roadshow version in HD. Twilight Time does not do transfers or restorations, they release the masters that the studios supply them with. MGM needs to step up and properly restore it.
RogerA – the new 35mm print of “2001” that I ran back in 2004 was pillarboxed on the sides to preserve the 2.20:1 aspect ratio. The current 2K DCP of “2001” is also pillarboxed, presumably the new 4K will do the same.
I count the ceiling titles to get an approximate measure of screen width, the tiles are 2 feet wide.
“This coming November will mark 55 years since it’s opening…it was ahead of its time and it predated Omnimax!!!
The screen wasn’t a dome like Omnimax, ‘Dome’ refers to the building’s shape.
Howard – unfortunately there were already a few minor projection scratches visible on the print at the show I saw on Saturday. Thin black tramlines on the extreme right side that should not be there on what would have been the 6th or 7th running of the print (hell, they shouldn’t be there even after the 100th running of the print). Plus some dirt/lint near the reel changes and visible splicing tape.
There are projection and print issues with 2001 at the Village East, and I think a $20 ticket is a bit much, but it’s still worth seeing.
“if Snyder didn’t finish directing the film how can there be a Zack Snyder cut?”
There isn’t one. At best, there’s a rough cut of his version with unfinished special effects.
Howard – 70mm used to have five backstage speakers: Left, Left/Center, Center, Center/Right, and Right. The mixers eventually used those channels on the prints for subwoofers, so many theatres took them out.
Bigjoe – a major studio like WB is unlikely to use a damaged collector’s print.
The RCMH and the Roxy did humongous business:
https://immortalephemera.com/58216/king-kong-1933/
Mark – “pillarboxing” is when they put a flat image inside the ‘scope digital container on a DCP. Or it can refer to a theatre that has a scope screen and shows a flat film without bringing in side masking. Basically, the reverse of “letterboxing”.
Regarding the seats, I didn’t even realize they had the rumble feature beforehand. I may not have been paying attention during the demo as we got there just as the trailers started. I could feel vibrations at certain points in the movie where it seemed logical but it wasn’t until about halfway through it that I realized the seats were vibrating. So they’ve either toned it down or I’m not sensitive to it. Be curious to see another high-powered movie there soon and see if I react differently to the effect.
alpinedownhiller:
I saw Blade Runner 2049 Saturday at the 11:15 am show – there were about 15-20 other people there. My first time at a Dolby Cinema showing and I echo the words of your post back on 9/29. With just a bit more thought into light placement this would be a 100% winner of an auditorium. The blue aisle lights that go up to the screen cast a blue glow and the red exit light to the immediate left cast a red glow. Also, the high-level sound from the surrounds was causing something in the ceiling to rattle. Plus the overall level was too high, could tell the speakers were starting to distort. The seats did rumble, but I didn’t find it distracting as others have since it seemed they rumbled coinciding with scenes that had heavy bass levels.
Other than the light issues, the image is superb, though it would get even better if the scope screen was masked properly on the top & bottom.
For a $12 matinee ticket and extremely comfortable seats, I can’t complain too much though I hope AMC listens to the note I sent in about the lighting issues.
Yeah, not exactly the kid of comment from staff that should be made public. He blames the poster for being late…except the poster wasn’t late. And, sorry, with a nearly 4 hour event the venue should open earlier than usual to be certain of starting the show on time.
Grand opening was in 1982, not 1981.
That should be 1982, not 1981
That’s a shame about Jaws (and I suspect the other classics this month) – Universal has a very nice DCP of that title available, and I ran it in 35mm at the Lafayette about 13 years ago.
As far as I know, it was never equipped with 70mm when it was a UA house.
The iPic that recently opened in Fort Lee, NJ is reportedly doing very good business at $25 a ticket for the Premium Plus seats.
How many people were there for the show? What type of gear did they bring in to run it? I would have liked to be there but one-day events are hard to get to in the summer.