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Author Topic: Format of W.B. newest GWTW prints. Bill Enos Film God Posts: 2081 From: Richmond, Virginia, USA Registered: Apr 2000 posted 10-20-2008 10:08 AM                     Warner Classics division has very recently struck some new prints of GWTW, done in the last month or so, does anybody know whether these new prints are anamorphic like it was in the last re release or standard 1.37?  |  IP: Logged Richard P. May Expert Film Handler Posts: 243 From: Los Angeles, CA Registered: Jan 2006 posted 10-20-2008 10:18 AM                     The anamorphic format was intended for the dye-transfer prints, which due to much mis-registration turned out to be a bad move. I'd guess the new prints are 1:37, but suggest you contact WB Classics, who are the ones who should be able to properly answer this. The most recent prints made before I left WB (2005) were 1:37, with quad track. DM  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 10-20-2008 11:06 AM                        So much for WB Classics no longer striking any more new prints of there classic titles.  |  IP: Logged Joe Tommassello Jedi Master Film Handler Posts: 547 From: Coatesville, PA, USA Registered: Jan 2008 posted 11-04-2008 04:07 PM                  Anyone know of showings of this new GWTW print...perhaps in the NY area? I'd love to see it.  |  IP: Logged Bill Enos Film God Posts: 2081 From: Richmond, Virginia, USA Registered: Apr 2000 posted 11-04-2008 09:41 PM                     Here's the lowdown on the print we ran. Had all four sound systems. I played it in SRD--mostly. First reel reverted 3 times in the first five minutes then stayed in SRD. All heads and tails had been cut, contrary to what we had been told. Looked very good on the screen except for 3 places that had some white cross scratches. Reel 13, the last, switched between SR & SRD several times then stayed in SR until the last 5 minutes and switched back to SRD to the end. The overture at the beginning was present as was the music at the intermission and restart. This print probably has 20+ runs on it, we were told it has 3 or 4. Analog sound tracks were black. All the change cues are white and 6 to 8 frames, all over good original marks. Print #20062 [ 11-06-2008, 02:38 PM: Message edited by: Bill Enos ]  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 11-05-2008 10:06 PM                        quote: Bill Enos All the change cues are white and 4 to 8 frames, all over good original marks. This just wants to make you break someone's fingers.  |  IP: Logged Rick Raskin Phenomenal Film Handler Posts: 1100 From: Manassas Virginia Registered: Jan 2003 posted 11-06-2008 03:56 PM                     I thought the cues on GWTW looked like this: White cues and more than 4 frames...WTF?  |  IP: Logged John Wilson Film God Posts: 5438 From: Sydney, Australia. Registered: Dec 1999 posted 11-06-2008 05:06 PM                     Perhaps they had been scratched in. Years ago, a colleague was building a print where someone had nicely added the following notation: 'Cues scribed' to which my friend added: '...by blind dickead projectionists.' It continued to travel with the print.  |  IP: Logged Bill Enos Film God Posts: 2081 From: Richmond, Virginia, USA Registered: Apr 2000 posted 11-06-2008 09:35 PM                     That's exactly what the original cues look like. Some near blind alledged projectionist added cues probably made with a trusty Clint Phare cueing device. Making cues with one of these devices is certainly better than missing an invisible cue and having the film run out but whoever made these made them over visible cues and made them 6 frames in every case and 8 frames in a couple. The Clint Phare cue cutter, for those not familiar with it, can, when used correctly make a 1/16 inch circle in the correct location in 4 consecutive frames, usually almost exactly over lab cues, or most importantly where lab cues should have been. It does not cut a hole in the film. The circle it makes is actually smaller the most lab cues. It shouldn't be used when good lab cues are present and visible on the screen.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 11-07-2008 08:17 AM                        Unless a theatre has incredibly poor screen light levels, or the projectionist has incredibly poor eyesight, lab cues are always visible. I don't think I have ever seen a lab cue that needed emulsion scratched enhancement. On ocassion I have seen cues in scenes with lots of dark, frenetic action that at first look I would think, "Geez is this cue going to come up in this excrement? Am I going to be able to see?" But no matter what is going on in the image, the cue always stands out enough to do a proper change-over, at least that's been my experience, and I do change-overs constantly. I mean, you can see cues even in blackouts, so what's the problem with these guys? And Technicolor cues with the surrounding light color and magenta center and the little spikes, hell, it couldn't be more obvious if an arm came out of the projector and whacked you upside the head with a mallet. Of course there are no absolutes, so yes, it is possible that there is that 1 in 100,000 reels of film somewhere were the cue is just too difficult to see and some old change-over guy needs to see a white dot instead of a black one, OK, but that STILL is no reason to mar the emulsion on EVERY reel -- just do the one that seems difficult to see. And if a guy HAS to scribe, then he should at least have the decency and respect for the film to ink over those emulsion gouges he made before ship out, because the rest the majority of runs for the life of that print will be on platers where those scribbed cues are useless and will do nothing but distract the presentation for everyone who will henceforth see the film.  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 11-07-2008 08:27 AM                        In the last few years, many of the French films we get are totally cueless. So, we must add a cue at the changeover. We run on hour reels, so only one set of cues, and of course, done properly.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 11-07-2008 08:39 AM                        Martin, usually a print sans any cues means it's an EK or Showprint which is struck without as many intermediates stages as normal "mass produced" prints. Did you notice they will look much better in terms of image clarity than do the highspeed Hollywood prints? Getting that close to the negative really makes a difference. Needing to putting cues in is a small price to pay in what you gain in image quality. We do get these Showprints quite often, usually from overseas and also from independent producers who actually will strike only a handful of prints right off the negative to save money. They can look very good.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 11-07-2008 10:25 AM                     Frank, In my final year or two I saw quite a number of prints made by French labs, not only of French films, but others as well. Most of these had no cues  |  IP: Logged Bill Enos Film God Posts: 2081 From: Richmond, Virginia, USA Registered: Apr 2000 posted 11-07-2008 12:45 PM                     I haven't seen a cue on a French film since the '80s and never on an Indian film. There are plenty of iffy cues on general release films. We run hour reels and when I find a cue while building a print that may not be clear I leave the other guys a note about it. If they or I have an issue with it, it gets a cut cue. Shaded with a felt marker cut cues are minimally more noticeable than a lab cue and you sure don't miss that stupid feeling when the screen goes black then the FINISH REEL 3 frame flashes.  |  IP: Logged John Wilson Film God Posts: 5438 From: Sydney, Australia. Registered: Dec 1999 posted 11-07-2008 05:11 PM                     quote: Frank Angel I don't think I have ever seen a lab cue that needed emulsion scratched enhancement The Lost Boys...motor cue end reel 2. It needed enhancement badly, but didn't get it on my print. Even after two weeks, it was still bloody hard to see.  |  IP: Logged

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