Charles Smith

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Likewise. Loved it. My only regret was that they felt (or knew) that they had to have a title card for the overture.

In the theater!

At least it was a designed one, not just the word. And of course I understand. Even if they had dispensed with the card, the "culture" of getting settled with the house lights going to half, etc., no longer exists for moviegoers. It was a foreign enough concept for these young 'uns as it was, and we're lucky to have gotten that much.
 
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OliverK

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It's a shame that the first movie filmed in UP70 - (really MGM Camera 65) was never released in 70mm and is only available on VHS tape and laser disc - Raintree County.
Very true but at least if we get it then it will look better than the other three, hopefully soon.
 

Paul Scrabo

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Having seen "Mad, Mad World" in multiple venues over the many years, it is safe to say that after attending the Cinerama Dome's 55th Anniversary, the classic film looked the best I have ever seen that night.
Right from the beginning, we could see this presentation was in the best hands - the correct greenish opening title card, and Dave Strohmaier and crew even matched up the first graphic with the original IN CINERAMA card..!
The directional sound found its visual partner in the authentic wrap-around Cinerama feel. The car chases were re-discovered in their balletic movement. There were quite a few in the sold-out crown that had never seen "Mad, Mad World" until that night, and how lucky for them to have watched it via the impressive work of Dave Strohmaier. After tackling the near impossible job of "upgrading" the classic three-strip Cinerama films for a new and appreciative audience, it's most appreciated that he and his associates put the same care into the "Single-Lens" entries.!
An amazing evening! Thanks to Dave and his team, and the staff of the Cinerama Dome!
DSC03138.JPG
 

cinemiracle

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Peter
After working in the industry for over 40 years I agree with Mike S. (Cadavers). I been trough the changes from carbon Arc to xenon Bulb, from reel to reel to platters, from 35mm projectors to digital projectors. Digital presentations are almost perfect. I know there are true projectionists that would make any 35/70 presentation perfect, but they are rarely employed theses days and I went through the days of the high school projectionists (shudder) and the patron does not have to endur those days now in the almost flawless digital presentations and the patron is what it’s all about.
Can someone then explain to me why Christopher Nolan is one of the loudest proponents of celluloid (his words,not mine) and the immersive cinema experience that it gives. Quentin Tarantino is another such person. Q.T.'s HATEFUL 8 in celluloid was an unforgettable experience. Nobody has yet to give me a satisfying answer as to why a massive number of cinemagoers still prefer celluloid projection to digital.There is no comparison with digital Imax as against celluloid.It is the same with 70mm. Perhaps one day it may happen but there is still a very long way to go. Why are they still making new prints of old 70mm films when digital copies would have been much cheaper?
 

OliverK

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Why are they still making new prints of old 70mm films when digital copies would have been much cheaper?
In the last 15 years there were only very few prints made apart from Fox, with most movies held by Warner, Universal and MGM not being available as new 70mm prints.

Sony did pretty well, too with 2 out of 3 movies shot in 65mm being available but recently LoA has only been reprinted as a digital filmout which to me does not really make that much sense as going from analog to digital and back is kind of defeating the purpose of having an analog medium.

So yes there are prints of older movies still available but not much has been truly printed in the analog realm in the last years and I doubt that we will ever see another completely analog print being struck of Mutiny on the Bounty, Ryan's Daughter or The Greatest Story ever Told even when their negatives remain in good shape.
 
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DP 70

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Derek
Roma (2018) is going to screen in 70mm in LA from next week.
I would like to see what this print looks like as it was shot in B/W.
 

nara

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Nobody has yet to give me a satisfying answer as to why a massive number of cinemagoers still prefer celluloid projection to digital.
Do they? "A massive number"? That's news to me.

Could you give me a link to the data you base this statement on?
 

OliverK

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I will say that going to a 70mm festival is different as one is watching 70mm prints which for those prints that are being shown may be a very unique and rare experience while a DCP is something that I will be able to catch later at my convenience. So for older movies film is unique while digital carries with it the knowledge of providing an experience that can be repeated many times in many places.
 
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ahollis

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Allen
Nobody has yet to give me a satisfying answer as to why a massive number of cinemagoers still prefer celluloid projection to digital.
After working for years in the exhibition industry during both the film era and digital era, I can say with certainty that 98% of patrons of the cinemas have no idea the difference between the two. I have never had a patron complain to me that presentation was digital and not film.

So enlighten us with a satisfying answer about the massive number that prefer film over digital.
 

OliverK

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After working for years in the exhibition industry during both the film era and digital era, I can say with certainty that 98% of patrons of the cinemas have no idea the difference between the two.
In my experience most people would be perfectly fine with a Blu-ray projected with a 2k projector.
 
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RolandL

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A few years ago, the New Haven Shubert theater had a holiday party (free food and a movie) for it's subscribers. They showed a Blu-ray of Meet Me in St. Louis stretched to fill their 1.85 screen. No one in the audience complained. Most people are clueless about video.
 

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