Restored "The Searchers" in 70mm (2 Viewers)

[Peter Apruzzese]

Sounds like not enough illumination.

Number one rule of film presentation. Lower your amperage. Save $$.

That doesn’t work, all that does is make the lamp difficult to strike and it also shortens lamp life as they are designed to use a certain amount of current to keep their arc consistent. They should also be rotated at 1/4, 1/2, and 3/4 of their rated life and replaced at their maximum hours. But many theaters would run way past the end life by turning up the current to get the brightness back to normal levels. And then you can get one to explode - which creates a very nice cleanup and repair (speaking unfortunately from experience).

 

[Robert Harris]

That doesn’t work, all that does is make the lamp difficult to strike and it also shortens lamp life as they are designed to use a certain amount of current to keep their arc consistent. They should also be rotated at 1/4, 1/2, and 3/4 of their rated life and replaced at their maximum hours. But many theaters would run way past the end life by turning up the current to get the brightness back to normal levels. And then you can get one to explode - which creates a very nice cleanup and repair (speaking unfortunately from experience).

I was thinking post-arc. Dirty reflectors are also a help.

 

[Peter Apruzzese]

I should have specified, Xenon lamps have an internal arc. Deposits form on the inside of the quartz which is why rotation is recommended. Yes, I should have also mentioned reflectors. Dirty, cracked, and misaligned ones were a big problem with film projectors. I couldn’t believe the improvement it made when we swapped out a pair of old ones for a brand new matched pair.

 

[Robert Harris]

I should have specified, Xenon lamps have an internal arc. Deposits form on the inside of the quartz which is why rotation is recommended. Yes, I should have also mentioned reflectors. Dirty, cracked, and misaligned ones were a big problem with film projectors. I couldn’t believe the improvement it made when we swapped out a pair of old ones for a brand new matched pair.

As you know, you have to care.

 

[JPCinema]

As you know, you have to care.

This was just posted on Jeffrey Well's "Hollywood Elsewhere"
70mm “Searchers” Is Profoundly Underwhelming
Last night I hopped on the R train (Times Square to Steinway) in order to visit the nominally pleasant but architecturally dreary neighborhood of Astoria, Queens. Talk about your ethnic downmarket vibe. I took a couple of snaps (SAMO graffiti, a guy openly taking a leak) as I wondered how and why anyone would want to live in this kind of vaguely shitty neighborhood.
The precise destination was the Museum of the Moving Image, where the highly touted 70mm restoration of John Ford’s wildly over-praised The Searchers unspooled at 7:30 pm.
The MOMI host told us we were in for a real treat — a 70mm replication of a genuine, bonafide VistaVision version of a luscious color film (shot by Winston C. Hoch) that very few popcorn-munching Average Joes had seen in ‘56.
What I saw looked like a nice but unexceptional 35mm print that could have played in my home town of Westfield, New Jersey.
“Bullshit!”, I muttered to myself as I sat in my third-row seat. “I’ve been took, tricked, scammed, duped, deceived, flim-flammed, boondoggled, lied to, taken to the cleaners, sold a bill of goods”, etc.

 

[titch]

I was so disappointed I did not go to see it again last night. This was just posted on Jeffrey Wells' "Hollywood Elsewhere" blog

70mm “Searchers” Is Profoundly Underwhelming
Last night I hopped on the R train (Times Square to Steinway) in order to visit the nominally pleasant but architecturally dreary neighborhood of Astoria, Queens. Talk about your ethnic downmarket vibe. I took a couple of snaps (SAMO graffiti, a guy openly taking a leak) as I wondered how and why anyone would want to live in this kind of vaguely shitty neighborhood.
The precise destination was the Museum of the Moving Image, where the highly touted 70mm restoration of John Ford’s wildly over-praised The Searchers unspooled at 7:30 pm.
The MOMI host told us we were in for a real treat — a 70mm replication of a genuine, bonafide VistaVision version of a luscious color film (shot by Winston C. Hoch) that very few popcorn-munching Average Joes had seen in ‘56.
What I saw looked like a nice but unexceptional 35mm print that could have played in my home town of Westfield, New Jersey.
“Bullshit!”, I muttered to myself as I sat in my third-row seat. “I’ve been took, tricked, scammed, duped, deceived, flim-flammed, boondoggled, lied to, taken to the cleaners, sold a bill of goods”, etc.

"...wildy over-praised.." - decided the rest of whatever this person wrote, wasn't worth the effort.

 

[bujaki]

This was just posted on Jeffrey Well's "Hollywood Elsewhere"
70mm “Searchers” Is Profoundly Underwhelming
Last night I hopped on the R train (Times Square to Steinway) in order to visit the nominally pleasant but architecturally dreary neighborhood of Astoria, Queens. Talk about your ethnic downmarket vibe. I took a couple of snaps (SAMO graffiti, a guy openly taking a leak) as I wondered how and why anyone would want to live in this kind of vaguely shitty neighborhood.
The precise destination was the Museum of the Moving Image, where the highly touted 70mm restoration of John Ford’s wildly over-praised The Searchers unspooled at 7:30 pm.
The MOMI host told us we were in for a real treat — a 70mm replication of a genuine, bonafide VistaVision version of a luscious color film (shot by Winston C. Hoch) that very few popcorn-munching Average Joes had seen in ‘56.
What I saw looked like a nice but unexceptional 35mm print that could have played in my home town of Westfield, New Jersey.
“Bullshit!”, I muttered to myself as I sat in my third-row seat. “I’ve been took, tricked, scammed, duped, deceived, flim-flammed, boondoggled, lied to, taken to the cleaners, sold a bill of goods”, etc.

Well, consider the profoundly knowledgeable source...racist as well.

 

[Tino]

wildly over-praised The Searchers

I stopped reading right there.

 

[JPCinema]

Well, consider the profoundly knowledgeable source...racist as well.

I think he is a jerk! He always speaks badly of people.

 

[JPCinema]

I think he is a jerk! He always speaks badly of people.

Sadly, having seen it a few nights ago, THE SEARCHERS did look awful in 70mm at the Museum of the Moving Image
I watched the blu ray to erase my memory of the 70mm screening

 

[Robert Harris]

Sadly, having seen it a few nights ago, THE SEARCHERS did look awful in 70mm at the Museum of the Moving Image
I watched the blu ray to erase my memory of the 70mm screening

I’ve not seen it.

What, in your opinion, were the problems — and print vs projection?

 

[Roger Grodsky]

I saw "The Searchers" at the Museum of the Moving Image this afternoon. I would say that any problems were definitely NOT with the projection or illumination. The picture was plenty bright and completely in focus. The film had a somewhat "brown" cast to it. I have no idea what the original looked like and this was the first time I've seen the entire film, but it did have less saturated color than the excerpts I've seen over the years. And the day-for-night scenes did look a bit strange. It was cool to see it on the big screen with a large and appreciative audience. I'm curious to see what the digital cinema package (or 4K disc) look like.

 

[JPCinema]

I’ve not seen it.

What, in your opinion, were the problems — and print vs projection?

Projection although the print had major scratch damage during some parts of the film.

 

[Robert Harris]

Projection although the print had major scratch damage during some parts of the film.

To be clear, do you feel there were projection problems as well as scratches to the print?
Scratches are normal today, as few theaters know how to run prints. Especially 70mm.

This is why, except in specific venues, I no longer believe in 70mm prints, and these prints are being bicycled.

Scratches were never a part of a filmmaker’s intent.

 

[David Weicker]

Projection although the print had major scratch damage during some parts of the film.

If this 70mm presentation was from the new 'restoration', why would it have 'major scratch damage'.

I can't imagine there have been enough screenings of a newish print to have noticeable damage.

 

[mskaye]

If this 70mm presentation was from the new 'restoration', why would it have 'major scratch damage'.

I can't imagine there have been enough screenings of a newish print to have noticeable damage.

Umm, careless handling and one bad screening in less that optimal conditions can ruin a print especially with something as fragile as a 70mm mega reel.

 

[Peter Apruzzese]

If this 70mm presentation was from the new 'restoration', why would it have 'major scratch damage'.

I can't imagine there have been enough screenings of a newish print to have noticeable damage.

As Michael said, one run of a print through a faulty or poorly maintained projector can damage it with scratches, nicks, dirt, etc.

 

[David Weicker]

Umm, careless handling and one bad screening in less that optimal conditions can ruin a print especially with something as fragile as a 70mm mega reel.

As Michael said, one run of a print through a faulty or poorly maintained projector can damage it with scratches, nicks, dirt, etc.

Are you saying that since April (just over two months ago), there have been that many screenings of this particular print?

The restoration premiered at the TCM festival, so presumably the print was created after that. How many screenings were even booked during that time?

 

[Robert Harris]

Are you saying that since April (just over two months ago), there have been that many screenings of this particular print?

The restoration premiered at the TCM festival, so presumably the print was created after that. How many screenings were even booked during that time?

Only takes one problematic projector, or untrained projectionist, and a five figure print goes ‘poof!’ Most notable stupid projector trick is not swapping out 35mm rollers for 70. Prints tend to not like that. Especially if the errant roller is past the gate, and you can’t hear the screams.

 

[Chelsearicky]

This was just posted on Jeffrey Well's "Hollywood Elsewhere"
70mm “Searchers” Is Profoundly Underwhelming
Last night I hopped on the R train (Times Square to Steinway) in order to visit the nominally pleasant but architecturally dreary neighborhood of Astoria, Queens. Talk about your ethnic downmarket vibe. I took a couple of snaps (SAMO graffiti, a guy openly taking a leak) as I wondered how and why anyone would want to live in this kind of vaguely shitty neighborhood.
The precise destination was the Museum of the Moving Image, where the highly touted 70mm restoration of John Ford’s wildly over-praised The Searchers unspooled at 7:30 pm.
The MOMI host told us we were in for a real treat — a 70mm replication of a genuine, bonafide VistaVision version of a luscious color film (shot by Winston C. Hoch) that very few popcorn-munching Average Joes had seen in ‘56.
What I saw looked like a nice but unexceptional 35mm print that could have played in my home town of Westfield, New Jersey.
“Bullshit!”, I muttered to myself as I sat in my third-row seat. “I’ve been took, tricked, scammed, duped, deceived, flim-flammed, boondoggled, lied to, taken to the cleaners, sold a bill of goods”, etc.

Pay no attention to this moron.....a pretentious Manhattan transplant now dripping with contempt. I know the type well.