Mindboggling.
You hear a lot about government boondoggles, but this takes the cake. There are no words to adequately describe the stupidity of not immediately depositing the original tapes in either the National Archives or the Library of Congress. These tapes will likely make their way into the hands of someone who either has no idea of how to properly preserve them, will keep them private until they've deteriorated beyond use, or will demand so much money for them to be copied that the world will never see them. Best case scenario is that someone who truly cares about their significance will purchase them, have them professionally preserved and duplicated, and share the contents publicly. That's my hope. The cynic in me says that it will be the former.
You hear a lot about government boondoggles, but this takes the cake. There are no words to adequately describe the stupidity of not immediately depositing the original tapes in either the National Archives or the Library of Congress. These tapes will likely make their way into the hands of someone who either has no idea of how to properly preserve them, will keep them private until they've deteriorated beyond use, or will demand so much money for them to be copied that the world will never see them. Best case scenario is that someone who truly cares about their significance will purchase them, have them professionally preserved and duplicated, and share the contents publicly. That's my hope. The cynic in me says that it will be the former.
You are exactly right.
Sincrerely, my post was clueless, apologies.
For dummies like me, next time tack on an emoji.
Common practice.
So we can finally prove it was all staged by Kubrick??
Nope HyamsSo we can finally prove it was all staged by Kubrick??
The DR stops are inaccurate. Alexa and Monstro are about the same.
I’ve been impressed with the Arri Alexa 65 but with the Panavision DXL, you can use Panavision’s large format lenses so that is awesome. So if they use the Super Panavision 70 lenses, would the movie be considered filmed in Super Panavision 70? We need to wow moviegoers again. I know the Russo brothers used the Ultra Panavison 70 lenses on the Arri Alexa 65 for Infinity War and Endgame. Always said, if they could make 65 mm work in digital I would no longer be a celluloid snob.
Agreed and I wonder why this is happening. Almost every film is brought down to 2K nowadays, why not give us true 4K?I just looked up Avengers Endgame and have to say that to me bringing this kind of resolution down to 2k again is sickening. Ever higher resolution capture seems to be mostly pointless if we cannot even make it to proper 4k DI's.
Agreed and I wonder why this is happening. Almost every film is brought down to 2K nowadays, why not give us true 4K?
I agree. Only a few recent films are true 4K. Black Panther was one of them. I wish they would hype this stuff up. Like you have been saying a beautifully projected 4K image is better than 35 or 65mm film and now that they have these cameras where you can use the Super Panavision and Ultra Panavision lenses with the Hi Def digital cameras, people can be wowed of they hype this up the way they did Cinemascope and Todd AO back in the day.Possibly because home video piggybacks theatrical, and 4k theatrical is still a rara avis
Agreed and I wonder why this is happening. Almost every film is brought down to 2K nowadays, why not give us true 4K?
However I miss the 70mm blow ups. Oliver Stone could so his Putin docs but he gave me one of the greatest cinematic experiences when I saw the 70mm blow up of Born On The Fourth July at McClurg Court Cinema in Chicago. Their main theater had 70mm and it was a THX theater. Summer of 89 was the year for 70mm blow ups. Indiana Jones and The Last Crusade was another one and that had the most 70mm prints than any other blow up.It was a very similar issue with 70mm and that was also the reason that 70mm origination all but disappeared and instead fake 70mm, i.e. 70mm Blow-Ups were introduced: 35mm was considered good enough, same as 2k. So it used to be 35mm movies blown up to 70mm and now it is 2k DCP's presented to us on 4k UHD discs and in 4k digital cinemas.
The bean counters seem to make the right decision I would think as in recent memory we only got one very successful movie with a 4k DCP: Black Panther that you already mentioned. All others do just fine with 2k.
It was a very similar issue with 70mm and that was also the reason that 70mm origination all but disappeared and instead fake 70mm, i.e. 70mm Blow-Ups were introduced: 35mm was considered good enough, same as 2k. So it used to be 35mm movies blown up to 70mm and now it is 2k DCP's presented to us on 4k UHD discs and in 4k digital cinemas.
The bean counters seem to make the right decision I would think as in recent memory we only got one very successful movie with a 4k DCP: Black Panther that you already mentioned. All others do just fine with 2k.
Yes those were the technical rationales but sadly the bigger negative and increased resolution that was the biggest selling point for (re-)introducing large format productions was missing.The two major rationales for 70 blow-ups, were illumination for large screens, and 6-track mag.
Agreed and I wonder why this is happening. Almost every film is brought down to 2K nowadays, why not give us true 4K?