UHD Review A Few Words About While we wait for A few words about...™ - North by Northwest -- in 4k UHD (1 Viewer)

[OliverK]

We decided early on, that fillum was not the way to go. Extremely expensive. Limited access to prints.

It’s over In most situations.

Is the theater all digital or does it still have the capability to play film?

I was at the website but unfortunately I cannot find a lot of information about the technical side of things.

 

[Robert Harris]

Is the theater all digital or does it still have the capability to play film?

I was at the website but unfortunately I cannot find a lot of information about the technical side of things.

We removed projectors. Portholes exist, but like most venues position was terrible.

Our 4k projector is positioned at center screen, with all optical positioning via a bore-sight. Proper illumination. Image is in proper focus corner to corner on a 37 foot screen.

Four-way maskings cover 1.19:1 - 2.76:1.

Dolby Atmos.

Running 35mm, and using archival prints is possible, but a venue should have a staff archivist to handle prints, and a properly trained projectionist(s). While the two jobs can be covered by one person, if many archival prints are being accessed, it’s better with two.

The Burns Film Center in Pleasantville, NY handles this beautifully.

With running archival prints comes great responsibility. Errors cannot be allowed to occur, which makes professional film prep essential. And then problems arise.

Look no further than the recent 70mm print of Searchers that is no longer pristine in just a few runs.

With digital, titles are still limited - sometimes on DCPs based upon older transfers, but those exigencies are disappearing daily as IP owners release new upgraded DCP titles.

 

[Robert Harris]

That glorious sound I smell? Was the sound for the 4K DCP presented in OG Mono or Multi Channel? (which I am confident that it was heard in for 4K showing.)

For now, I believe the mix on the 4K (as I don't count the 70mm mix, for the safety of accuracies' sake) comes allegedly from the same 5.1 mix as heard in the DVD/BD I believe was updated, compared to the 2000 DVD?]

When is WB and Res Team is gonna deliver us a better sounding Mono Mix via lossless DTS-HD MA 2.0 option (rolling the dice for a minimum attenuation on the in terms of Detail, Hiss and Noise Reduction) than the after 40 year old 1984 MGM/UA LD, beats me. Keep circulating the tapes, that is?

How a remixed or an updated mix is made (you may have heard before):

How do I put it?

A: Make sure the music master tapes are recorded in stereo (Score was recorded that way, was it?),
B: Retain the Mono (for this film) and Dialogue and Effects stems
C: Sync and Time the both Music Masters and Dialogue/SFX and sound restorer/mixer should have a fancy sounding mix *, When they feel they can't find any sound oddities during their mixing stage.

* That of course depends on whether or not the Dialogue/SFX have from panning effect from Left to right (Dialogue-wise)

Is that how the average sound lab/restoration house do it?

With that curiosity put to question, do you think that (after the Theatrical 70mm Blow-up/DCP runs are through) George Feltenstein and Co. [through WB PPCS (for Sound facilities, that is?)] are willing to resurface the OG Mono Mix for 4K UHD/Remastered BD?

You may check the post for inaccuracies.

I rest my case.
Thank you

I would expect the new 4k to include a fully re-mastered original monaural mix.

 

[bobclampett]

I would expect the new 4k to include a fully re-mastered original monaural mix.

Outside of a major metropolis, film festival, digital projection is a low contrast, low brightness, murky mess. No masking. When I attended a Toronto International Film Festival screening of Lyrebird (Title changed to The Last Vermeer) we were treated to state of the art 4K projection courtesy of a custom install by Christie in the Elgin Winter Garden Theatre (Loews Downtown). What a wonderful experience. Seeing North By Northwest in the 110 year old Elgin, likely the same theatre it premiered in 1959, topped off by an in person appearance by you know who to share “a few words”. That would be a dream come true. TIFF could pack that movie palace for a solid week.

 

[Worth]

Outside of a major metropolis, film festival, digital projection is a low contrast, low brightness, murky mess.

Outside of a major metropolis, 35mm projection is non-existent.

 

[OliverK]

We removed projectors. Portholes exist, but like most venues position was terrible.

Our 4k projector is positioned at center screen, with all optical positioning via a bore-sight. Proper illumination. Image is in proper focus corner to corner on a 37 foot screen.

Four-way maskings cover 1.19:1 - 2.76:1.

Dolby Atmos.

Running 35mm, and using archival prints is possible, but a venue should have a staff archivist to handle prints, and a properly trained projectionist(s). While the two jobs can be covered by one person, if many archival prints are being accessed, it’s better with two.

The Burns Film Center in Pleasantville, NY handles this beautifully.

With running archival prints comes great responsibility. Errors cannot be allowed to occur, which makes professional film prep essential. And then problems arise.

Look no further than the recent 70mm print of Searchers that is no longer pristine in just a few runs.

With digital, titles are still limited - sometimes on DCPs based upon older transfers, but those exigencies are disappearing daily as IP owners release new upgraded DCP titles.

Sounds like a good solution considering the next location that can handle film as it should be is not that far away.

4-way masking is very nice and will also allow proper masking for wider movies like East of Eden or Ben-Hur.

 

[Dick]

ask you local 4k venue to book it.

In Maine? Nope.

 

[Traveling Matt]

I think all of us appreciate a film print made from a film negative, but once it goes into the digital domain, it should remain in the digital domain. Pushing it back onto film adds nothing to the presentation. At best.

Except for doing a film out per archival needs.

 

[Henry Gondorff]

Except for doing a film out per archival needs.

Certainly, but I was specifically addressing screen presentation.

 

[Michel_Hafner]

I think all of us appreciate a film print made from a film negative, but once it goes into the digital domain, it should remain in the digital domain. Pushing it back onto film adds nothing to the presentation. At best.

Tell that Mr. Villeneuve...

 

[Robert Harris]

Tell that Mr. Villeneuve...

A rather different situation. Large format digital toward an analogue IMAX release is far different from restoring a 60 year-old film-based production, and going to the expense of recording out to 65mm to make a few prints.

The proper (more viable) asset record would have been back to full frame 35/8 IP.

 

[SteveB651]

Wonderful news to hear about these spectacular results. Did the Midway Airport "American Airlines, Flight..." announcement return to the soundtrack? It disappeared on the DVD and Blu-ray. Also the expression of frustration Cary Grant made when he realized the hospital door was locked disappeared on the DVD. I can't remember if it resurfaced on the Blu-ray.

 

[Michel_Hafner]

A rather different situation. Large format digital toward an analogue IMAX release is far different from restoring a 60 year-old film-based production, and going to the expense of recording out to 65mm to make a few prints.

The proper (more viable) asset record would have been back to full frame 35/8 IP.

As I understand it Villenuve did exactly this for Dune, Part 1, not staying in the digital domain and pushing it back on film, then rescanning, but for the DIGITAL master, to have more of a film look.

 

[Robert Harris]

As I understand it Villenuve did exactly this for Dune, Part 1, not staying in the digital domain and pushing it back on film, then rescanning, but for the DIGITAL master, to have more of a film look.

Or one can shoot fillum, strike an IP, and scan the IP and not the OCN for a fillum look.

 

[Kas Quatermain]

Or one can shoot fillum, strike an IP, and scan the IP and not the OCN for a fillum look.

That's what Nolan usually does.

 

[Dennis Gallagher]

We generally do not, unless there’s a special purpose. It negates the ability to speak freely.

And I can tell you that Sunday’s discussion was not meant for entertainment. It was a technical deep dive.

I'm sure you're aware that many here would be quite interested in a "technical deep dive" and would consider it quite entertaining. (FWIW - a quick check shows your theater's within hailing distance of me. I don't believe the closest theater to me that seemingly caters to a film loving audience has all the amenities of proper presentation; I may be wrong. You came to speak there many years ago and I would hope you'd return sometime.)

 

[Robert Harris]

I'm sure you're aware that many here would be quite interested in a "technical deep dive" and would consider it quite entertaining. (FWIW - a quick check shows your theater's within hailing distance of me. I don't believe the closest theater to me that seemingly caters to a film loving audience has all the amenities of proper presentation; I may be wrong. You came to speak there many years ago and I would hope you'd return sometime.)

What theater? Offhand, I’m thinking Bryn Mawr or Northampton. And then, there’s The Burns.

 

[Dennis Gallagher]

What theater? Offhand, I’m thinking Bryn Mawr or Northampton. And then, there’s The Burns.

Bryn Mawr. (In doing a quick search I found this posting with today's date on it and was hoping you might be returning in December; then noted that the article was actually published in November 2011: https://www.thereporteronline.com/2...film-restoration-at-bryn-mawr-film-institute/

Not meaning to disparage Bryn Mawr's efforts at all as they're definitely "fighting the good fight" and present a number of seminars about classic films. Their history includes being rescued from being turned into a gym (as was the theater in Ardmore down the road - which I think is now a furniture store). The Ambler Theater farther north is also doing good things. It's time I paid more attention to what these operations are doing and at least supporting them financially (as I continue to do with various film preservation organizations. (Is the theater in Northampton the Roxy? That's what I came up with on a quick search. If so, their operation seems similar to that of the Colonial in Phoenixville (home of "The Blob" and the Blobfest); thankfully that theater left their main theater untouched and added a few theaters next door using an old bank.) Side note for somewhere: perhaps a discussion of what theaters do what used to be called "film done right" but would now be a more general "presentation done right". This would include a combination of all the present technical "bells and whistles" as well as the more old school presentation trappings of curtains and proper masking.

 

[Osato]

North by Northwest and Ben-Hur in 4K are the two 65th Anniversary movies I want the most this year. Still No news about Ben-Hur. They must be working on it. ...........It sure would make a Great Christmas present !

Don’t overlook The Man With the Golden Gun 50th anniversary!

 

[RICK BOND]

Don’t overlook The Man With the Golden Gun 50th anniversary!

I already have it in 4K on Apple TV & Fandango.