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» Film-Tech Forum   » Operations   » Feature Info, Trailer Attachments & REAL Credit Offsets   » REQ: Gone with the wind (Page 1)

 
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Author Topic: REQ: Gone with the wind
Brent Arnold
Film Handler

Posts: 20
From: Grapevine, TX, USA
Registered: Feb 2002


 - posted 03-06-2002 08:35 PM      Profile for Brent Arnold   Email Brent Arnold   Send New Private Message       Edit/Delete Post 
Can someone give me some info on gone with the wind. (reel count, etc)

Thanks,
Brent

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Scott Norwood
Film God

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From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 03-06-2002 09:04 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
13 reels, MGM/Warner Bros. The recent prints were dye-transfer Technicolor printed with the Academy frame squeezed within the scope image area. You run it with the scope lens and plate, but pull the masking in to Academy (assuming that you have side masking). These prints shed like hell, although I suspect that Filmguard would help substantially. The track on the recent (1998) prints is quad-format with a very nice simulated 5.1 mix (one of the few tastefully done fake-stereo mixes that I've heard). The c/o cues are printed within the Academy frame. The intermission occurs between R6 and R7. There is walk-in music at the start of R1 and R7 and walk-out music at the tail of R6 and R13. If you have curtains, leave them closed and fade the lights slowly during the walk-in and walk-out music. Do _not_ show slides or play Movie Tunes during the intermission! (I've actually seen one theatre do this!)


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Brent Arnold
Film Handler

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From: Grapevine, TX, USA
Registered: Feb 2002


 - posted 03-06-2002 09:08 PM      Profile for Brent Arnold   Email Brent Arnold   Send New Private Message       Edit/Delete Post 
Thanks. Where does the intermission go. (I am sure when I recieve it I will see) also, is there an overture or an overture to the second act?

I so rearly run scope, it will be odd, lol.

So, you are telling me technicolor dosent distribute it? :-) Ignore that smile <g> I cant help but smile if TES dosent distribute it.

Thanks,
Brent

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Scott Norwood
Film God

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From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 03-06-2002 09:13 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
I've just added the other info my original post. I will try to scan a couple of frames to give you an idea of what the Academy-frame-in-scope looks like.

BTW, GWTW is _not_ a TES title. It will either come from ETS or (more likely) the "Warner Craft Vault." If it's the latter, then the print will likely be in excellent condition.


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Charles Everett
Phenomenal Film Handler

Posts: 1470
From: New Jersey
Registered: May 2001


 - posted 03-07-2002 07:45 AM      Profile for Charles Everett   Email Charles Everett   Send New Private Message       Edit/Delete Post 
The 1998 re-release was:

New Line Cinema
13 reels
Scope format with windowboxed 1.33 image
Dye transfer prints
SRD/SR/SDDS/DTS sound
ETS depot

Overture: Beginning of R1
Intermission: Last half of R6, first half of R7
End music: Last half of R13

The New Line logo appears only when the end music starts.

Scott: New Line had to re-print at least 1 reel because the image transfer was off-register. Also, the Loews New Brunswick in New Jersey ran this re-release with no frills -- exit snipe and "Welcome to Loews" snipe straight into R1.

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John Wilson
Film God

Posts: 5385
From: Sydney, Australia.
Registered: Dec 1999


 - posted 03-07-2002 08:26 AM      Profile for John Wilson   Email John Wilson   Send New Private Message       Edit/Delete Post 
CLASS-Y!

------------------
"It's not the years honey, it's the amount of my life I have spent running GWTW". - Rhett Jones.


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Brad Miller
Administrator

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From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99


 - posted 03-07-2002 08:33 AM      Profile for Brad Miller   Author's Homepage   Email Brad Miller       Edit/Delete Post 
Please make sure to read the thread "IMPORTANT - New policy for requesting print info". Thanks.

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Bernard Tonks
Jedi Master Film Handler

Posts: 619
From: Cranleigh, Surrey, England
Registered: Apr 2001


 - posted 03-07-2002 10:22 AM      Profile for Bernard Tonks   Email Bernard Tonks   Send New Private Message       Edit/Delete Post 
Scott said:

13 reels, MGM/Warner Bros. The recent prints were dye-transfer Technicolor printed with the Academy frame squeezed within the scope image area. You run it with the scope lens and plate, but pull the masking in to Academy (assuming that you have side masking).
……………………………………………………………………………………………………………………

Is this a first, how does it look ? Seems to me a better system than Academy frame within a 1.85 wide frame.

Why is it that dye-transfer prints always shed a lot ?

50 years in the trade and I’ve always wanted to project GWTW with changeovers! Well I darn well won’t make it now with my cinema closing soon!


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Brent Arnold
Film Handler

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From: Grapevine, TX, USA
Registered: Feb 2002


 - posted 03-07-2002 06:23 PM      Profile for Brent Arnold   Email Brent Arnold   Send New Private Message       Edit/Delete Post 
Brad-

Sorry, I tried finding that post, earlier, but couldnt find it. Sorry for posting incorrectly.

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Joseph Pandolfi
Expert Film Handler

Posts: 213
From: Milford, CT.
Registered: Nov 1999


 - posted 03-12-2002 02:41 PM      Profile for Joseph Pandolfi   Email Joseph Pandolfi   Send New Private Message       Edit/Delete Post 
I believe this came with 3 DTS discs. During the intermission we would swap the first disc with the third one.

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 03-14-2002 06:46 AM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
Bernard Tonks asked: "Why is it that dye-transfer prints always shed a lot ?"

It's especially important that dye transfer prints be properly lubricated, ideally with edgewax per SMPTE Recommended Practice RP 151, which says in part:

"1 Scope
This practice recognizes that proper lubrication of
35-mm motion-picture prints is needed to promote
good projection performance. Proper lubrication will
result in improved steadiness, reduction of noise in
the projector gate, reduced perforation damage, and
increased projection life."

"3.1 edge waxing: The application of wax or
other lubricant to the area of the processed print
film that is outside the picture and sound track
area. On 35-mm film, lubrication is usually
applied to each edge, including the perforation
area and margin, using a suitable applicator
wheel. The high level of lubrication required by
35-mm prints usually requires edge waxing.
The lubricant and solvent used should have no
adverse effect on the film, and should be effective in
prolonging the projection life of the print."

"8 Properties of properly edge-waxed film
The dried wax deposit should be just visible as a haze
on both the emulsion and base side of the film. The
wax deposit should be only in the perforation and
margin area, and should not bleed into the picture or
sound track area. When wound with normal tension,
large rolls of film should not dish when handled, and
there should be no excessive build up of wax during
projection.

The effectiveness of the lubrication in prolonging projection
life should be evaluated by using the Film
Projection Life Test. Properly lubricated
prints should have at least twice the projection life of
unlubricated prints. Insufficient wax application will
give less than optimum performance."


------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion


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Christopher Seo
Jedi Master Film Handler

Posts: 529
From: Los Angeles, CA
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 - posted 03-21-2004 09:00 AM      Profile for Christopher Seo   Email Christopher Seo   Send New Private Message       Edit/Delete Post 
Could anyone give me a rough idea about how much walk-in/walk-out music should be on Reels 1,6,7, and 13? The only place with substantial music (sans picture) seems to be the end of R-6 (several minutes' worth), but I'm wondering if it's supposed to be there. R-1 and R-7 only have perhaps 10 seconds each of walk-in music, and R-13 is missing any walk-out music that might have existed as it's cut off right at the "The End" fadeout.

Thanks!

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Thomas Procyk
Phenomenal Film Handler

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From: Royal Palm Beach, FL, USA
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 - posted 03-21-2004 11:53 AM      Profile for Thomas Procyk   Email Thomas Procyk   Send New Private Message       Edit/Delete Post 
Reel 1 - Overture - ~2:30
Reel 6 - Intermission - ~3:30
Reel 7 - Entr'Acte - ~3:30 (Note: total "Intermission Time" was 7 minutes, don't quite remember how the times were divided)
Reel 13 - Exit Music - ~3:00

When I ran this back in 1998 we had a problem with the optical track being VERY low in volume. (Had to run it at least 9 or 10). So when you swap the DTS discs, you might have a sharp drop in volume during the intermission.

Also, our print came with a 10-page or so booklet called "Concerning the Presentation of Gone With The Wind" which told you when/where to close the curtain and such. Alas, we were a multiplex with no curtains so we had to disregard it! [Frown]

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Christopher Seo
Jedi Master Film Handler

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From: Los Angeles, CA
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 - posted 03-21-2004 02:30 PM      Profile for Christopher Seo   Email Christopher Seo   Send New Private Message       Edit/Delete Post 
Thanks, Thomas. It looks like the rerelease conforms to the original roadshow format as outlined by Selznick himself in his presentation booklet. Widescreen Museum copy of booklet
Sadly, the print we got (#NL12 from Warner Classics) is missing the overture, exit music, DTS discs, and any guide to presentation. The SRD track has also been obliterated, among other things....

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Tom Doyle
Expert Film Handler

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From: Bristol, CT, USA
Registered: Nov 2002


 - posted 03-23-2004 02:02 PM      Profile for Tom Doyle   Email Tom Doyle   Send New Private Message       Edit/Delete Post 
quote:
The recent prints were dye-transfer Technicolor printed with the Academy frame squeezed within the scope image area. You run it with the scope lens and plate, but pull the masking in to Academy (assuming that you have side masking).
That's great for theaters with screens sized for scope films. However, if a theater has a large Academy-sized screen (and is set up to show scope without cropping), the image will look a bit small relative to the entire screen. Does anyone know if there are any Academy prints available, dye-transfer or otherwise?

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