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Author Topic: Phantom Thread (2017) - 70mm Mike Schulz Expert Film Handler Posts: 122 From: Los Angeles, CA Registered: May 2007 posted 05-03-2017 07:38 PM                     Hey guys, I don't think I've heard anything officially yet about this but it appears that Paul Thomas Anderson's new film will have a 5/70mm release this year (December 25 tentative). Aspect Ratio: 1.85:1 Cameras: Panavision Panaflex Millennium XL2, Panavision Ultra Speed Z-Series MKII Lenses Laboratory: Cinelab London Negative Format: 35mm (Kodak Vision3 200T 5213, Vision3 500T 5219) Cinematographic Process: Spherical Printed Film Format: 35mm (spherical) (Kodak Vision 2383), 70mm (blow-up) (Kodak Vision 2383) While it is exciting that some of the studios are continuing to release films in 5/70, it really bothers me that this one will be another blowup from 35mm and likely also matted down to 1.85 just like he did with "Inherent Vice" which to me kind of completely defeats the purpose of a blowup. "The Master" was even more frustrating because they actually filmed about half or more of the movie on 65mm and still decided to do a 1:85 matte on the 70mm prints. Anyway, this film is another collaboration with Paul Thomas Anderson and Daniel Day-Lewis so I'd be on board even if they shot this with a VHS camcorder. "There Will Be Blood" was a masterpiece and I have no doubt that this will probably be the film to beat at the 2018 Oscars.  |  IP: Logged Martin Brooks Jedi Master Film Handler Posts: 900 From: Forest Hills, NY, USA Registered: May 2002 posted 06-02-2017 10:01 AM                        As I've reported before, when I saw "The Master" at the Ziegfeld in 70mm, the print looked like complete crap. It was filled with dirt end to end and there was nothing about it that typified what one would expect from 70mm in terms of sharpness, resolution and color. And I don't get the 1.85 AR either unless Anderson is concerned about HDTV screens and if that's the case, why is he bothering with 70mm? The DTS sound was nothing special either. It was a huge disappointment for me and as big a fan of 70mm as I am, it made me feel that it probably looked and sounded better in digital. When I saw "The Master", I knew the age of film presentation was truly over.  |  IP: Logged Thomas Hauerslev Master Film Handler Posts: 451 From: Copenhagen, Denmark Registered: Aug 2000 posted 06-05-2017 12:33 AM                        PTA wanted a VistaVision look, which is what he accomplished by making it 1,85:1, or close to that. The 70mm print we got here in DK was flawless, the 65mm stuff literally jumping of the screen. About 86% of "The Master" was shot on 65mm stock. I made a little short film about the presentation at Biffen: https://www.youtube.com/watch?v=Z8AXY-kq6UU  |  IP: Logged Daniel Schulz Master Film Handler Posts: 387 From: Los Angeles, CA USA Registered: Sep 2003 posted 06-05-2017 01:05 AM                        quote: Thomas Hauerslev PTA wanted a VistaVision look, which is what he accomplished by making it 1,85:1, or close to that. The 70mm print we got here in DK was flawless, the 65mm stuff literally jumping of the screen. About 86% of "The Master" was shot on 65mm stock. Seconding this (although I didn't know the part about VistaVision being the motivation behind the curious aspect ratio choice). The 70mm presentations in Los Angeles were stunning, both picture and sound.  |  IP: Logged Thomas Hauerslev Master Film Handler Posts: 451 From: Copenhagen, Denmark Registered: Aug 2000 posted 06-06-2017 04:44 AM                        All you need to know about "The Master" http://www.in70mm.com/library/film/the_master/index.htm  |  IP: Logged

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