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» Film-Tech Forum   » Operations   » Feature Info, Trailer Attachments & REAL Credit Offsets   » THE SOUND OF MUSIC (updated) (Page 1)

 
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Author Topic: THE SOUND OF MUSIC (updated)
Frank Angel
Film God

Posts: 5111
From: Brooklyn NY USA
Registered: Dec 1999


 - posted 06-16-2005 12:42 AM      Profile for Frank Angel   Author's Homepage   Email Frank Angel   Send New Private Message       Edit/Delete Post 
Title: ....... THE SOUND OF MUSIC
Distrib: .....20th Cen Fox (thru Criterion)
35mm Print #: A1600 -- but this has been revised from what Vernon posted below. All reels are now stereo. You would think when they do make up better prints form other prints, that they would at least designate the change by a new print number.

Release #:....n/a
Reels: .......12
Emulsion: ....Eastman
Base: ........Estar
Print Incept Date Code: none shown
Run Time: 174min
Trailers attached: None

Picture Format --
Anamorphic: 2.39

Sound format --
Analog: Stereo (all reels; none mono); these all just say STEREO in the soundtrack and the assumption is that with the introduction of SR, Dolby included SR in the soundtrack identification. i.e., if it doesn't say SR in the soundtrack but only STEREO, then it is Dolby A. Nowhere else, either on the print or on the cans is there a reference to SR. We assumed that because only STEREO was indicated that this was a Dolby A print. It sounded quite splended played back in Dolby A.

Digital: None

Cues: Most reels had lab cues. I believe two reels were hand made/clint etched

Scratches --
Base: Minor
Emulsion: R3 evidently had run off a drive sprocket and has sprocket scratchs on the far right corner of the screen. They are there, but not terribly distracting, although they unnecessarilly mar an otherwise very nice print.

Leader splices: For some ungodly reason, 2 ID frames were left on both heads and tails. Luckily back then editors waited to make reel breaks in very quite scenes so here keeping the two frames with the leader does not cause any obvious loss. Now if ONLY the people who handle this print down the line resist the temptation to cut MORE frames.

I peeled of ALL splicing tape so both leader and film body ends are clean and there is NO REASON WHATSOEVER to make new cuts.

Body splices: most reels are splice free.

Color: Saturation very good and what you'd expect from a reduction print from 65mm neg (focus too). No fading; skin tones are accurate. Good blacks.

Continuity: Excellent

Physical Condition --
Overall: B+ (WB's print score) If it didn't have those sprocket scratches, it would be an A-, maybe even an A

NOTES:

Intermission at the end of R7 -- Interm

Cans are badly battered and bent. Latches are evil things with sharp edges and will cut you as soon as you touch them.

As noted below, there was an additional piece of film spliced onto R1 as "Overture" music, which, also as correctly noted, was not part of this Roadshow title. In fact, at the end of that music is a fade in of a picture that is a duplicate of the very beginning of R8, i.e. the Entr'acte music for Part II coming out of Intermission. Evidently the print lost the Entr'acte music at the top of R8 and new footage must have been ordered but was never spliced in the correct place, but just stuck onto R1. If one ran the print as we received it, the misplaced entr'acte music being used as an overture would end with a fade-in and a shot that would mysteriously go black and up would come the Fox logo. How the last guy didn't see that this was just wrong is the real mystery. We put this in the correct place in front of R8/Start of Part II

Also, there was exit music footage after the credits at the end of R12. Much to my dismay, we couldn't play it because it was butcherd and it ends in the middle of music, so it's worthless. It would be nice if replicement for this music footage were re-ordered.

The Intermission title (end of R7) as of 29 July 05 is intact. It has not been spliced. Let's see how long THAT can be sustained.

All in all, it was a wonder to see this great musical restored to more than what was in circulation for many years -- those terrible faded mono prints.

Criterion has to be commended for keeping this print in good condition. Reel bands would help to insure film from unraveling. We put a goodly amount of artist tape to hold town leaders, but not everyone will do that which could lead to lots of film damage in transit.

It might do well for Criterion to put big official-looking notices in the can saying DO NOT MAKE NEW SPLICE CUTS. CUT ONLY ON EXISTING SPLICES. PRINTS WILL BE INSPECTED AFTER EACH ENGAGEMENT. I've see notices like this on prints from Paramount and I must say, for the kid who's only seen some other kid whacking off a frame for every splice they make and thinks that's the way it's done, this might at least be a wakeup call that, at least for THIS print, you are not supposed to cut new frames. Hey, it couldn't hurt.



Original Post:
They have it listed already in their brochure so presumably it's already booked (that's not always the case). This is not the bastardization sing-along crap, but the straight film.

Anyone know if there are any decent prints? The last time I ran it in the 80s there were nothing but 3 or 4 Films Inc. prints, horribly shifted to green(!) Also the one I got had a badly distorted mono soundtrack. And we all know where those Films Inc. prints wound up. If we get a print from that era, I will shoot myself.

Anyone run it recently?

Request #2. Anyone have a trailer they can loan me?

[ 08-12-2005, 08:22 AM: Message edited by: Frank Angel ]

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Jonathan M. Crist
Jedi Master Film Handler

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From: Hershey, PA, USA
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 - posted 06-19-2005 10:24 PM      Profile for Jonathan M. Crist   Email Jonathan M. Crist   Send New Private Message       Edit/Delete Post 
Frank -
I have an almost brand new 3 1/2 minute full trailer (flat format) from the 73 reissue that I could loan. On Eastman stock but only a very slight (almost imperceptible)pinkish cast. You pay the shipping and insurance. Email jm-wac@msn.com if interested.

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Frank Angel
Film God

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From: Brooklyn NY USA
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 - posted 06-20-2005 03:42 AM      Profile for Frank Angel   Author's Homepage   Email Frank Angel   Send New Private Message       Edit/Delete Post 
Jonathan,

You have email.

The generosity of some of the members of this forum is amazing.

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John Pytlak
Film God

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From: Rochester, NY 14650-1922
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 - posted 06-20-2005 09:37 AM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
quote: Jonathan M. Crist
I have an almost brand new 3 1/2 minute full trailer (flat format) from the 73 reissue that I could loan. On Eastman stock but only a very slight (almost imperceptible)pinkish cast.
Sounds like it was kept cool and dry, which really slows down changes in the older dyes. Kodak introduced improved types of dye couplers for color print film in 1979, with complete conversion by the early 1980's:

http://www.kodak.com/US/en/motion/products/chrono3.jhtml?id=0.1.4.28.6&lc=en

quote:
1979

EASTMAN Color LF Print film, 7378. Improved cyan dye post processing keeping. Process ECP. Markedly improved cyan dye dark-keeping stability. Discontinued January, 1982.
EASTMAN Color LFSP film, 7379. Same as 7378 except for Process ECP-2. Markedly improved cyan dye dark-keeping stability.1 Discontinued 1983.


http://www.kodak.com/US/en/motion/products/chrono4.jhtml?id=0.1.4.28.8&lc=en

quote:
1982

EASTMAN Color Print film, 7/5384 Improved cyan dye dark keeping and red sensitivity to process variations. Process ECP-2A. Replaced 7/5381, 7/5383, 7378, 7379. In SMPTE Journal December 1982 and BKSTS Journal August 1983.


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Mark Gulbrandsen
Film God

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From: Bountiful, Utah
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 - posted 06-20-2005 10:25 AM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
There are no good 35mm prints that I have seen in the last decade, all beet red. There is at least one or perhaps two brand new 70mm prints in the Fox vault. This print was run at the Hollywood Egyptian Theatre a year or so ago. The last time I ran it was on the Millennieum at the Egyptian Theatre Film Fest in Boise, ID. That print was choppy and beet red but never the less we had a standing room only crowd and so many were turned away from the one showing that we ran an additional show on New Years Morning to another standing room only crowd at 9 A.M.. This film would still do huge buisness today if re-released in 70mm.

Mark

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Vernon Cramer
Film Handler

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From: Virginia Beach, VA, USA
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 - posted 06-23-2005 06:37 PM      Profile for Vernon Cramer   Email Vernon Cramer   Send New Private Message       Edit/Delete Post 
FOX
Scope 2.40
SR (except as noted below)
12 reels
Deluxe (?)

Criterion Print #A1600

NOTES:

1) This is one of a few prints Fox struck for a planned 30th anniversary limited theatrical release in 1995 that was scrubbed at the last minute. The prints sat at Fox for a few years, then most went to Criterion. Print was in great shape (color, no scratches, splices, etc, except as noted below).

2) The SR track (all reels except for Reel #2, see below) sounded good (CP-55, biamped JBL 4675s, 4641 subs, 8330 surrounds) though the mix seemed a little thin in some numbers, but not all. Organ in wedding sequence gave our system a workout.

3) Reel #1 had single shot of a few seconds that was completely red. Bizarre. Color on the rest of the reel was fine.

4) Reel #2 was from an earlier print, MONO track, some minor emulsion wear at head and tail, approximately 2 or 3 splices in the reel. Color was off slightly compared to rest of print, primarily in the blacks, not as noticable in other scenes. (We labeled the reel "MONO" before shipping print back.)

5) Entre'Act was MONO and spliced onto reel incorrectly, resulting in repeat of a couple of bars of music (Entre 'Act track runs a couple of seconds under fade in to 2nd half of film). Didn't have time to edit and remove excess audio.

6) For some unknown reason, another copy of the Entre 'Act, also in MONO, was spliced on to the head of reel #1 as an overture, but the original roadshow version did not have this.

7) We ran this print in July 2003 (corrected from earlier verion of this post).

[ 07-08-2005, 01:53 PM: Message edited by: Vernon Cramer ]

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System Notices
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 - posted 02-07-2009 08:27 AM      Profile for System Notices         Edit/Delete Post 

It has been 1324 days since the last post.


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Paul Gordon
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From: Ottawa, Ontario, Canada
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 - posted 02-07-2009 08:27 AM      Profile for Paul Gordon   Author's Homepage   Email Paul Gordon   Send New Private Message       Edit/Delete Post 
The 35mm print we just got

Is very warm (magenta balanced)

and mono, with 4 track mag

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Mark Gulbrandsen
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 - posted 02-07-2009 11:44 AM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
quote: Paul Gordon
Is very warm (magenta balanced)

You mean faded Eastman which it undoubdtly is!

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Mark J. Marshall
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 - posted 02-07-2009 02:19 PM      Profile for Mark J. Marshall     Send New Private Message       Edit/Delete Post 
quote: Paul Gordon
and mono, with 4 track mag
Did that come from the distributor? If so, did you request it that way?

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Paul Gordon
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no, we don't have a mag reader... they just gave us what they had I guess which kinda sucks

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Gordon McLeod
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A few years ago the film depot asked me which print the they should keep a mono optical or the mag op print I said keep the mag op [Smile]
A theatre that runs classic films should have by default 4 track mag if they want to present some of the older prints properly

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Paul Gordon
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expect that the mag tracks have warped the film... and the film is super brittle.. that film needs to be reprinted!

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System Notices
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It has been 2497 days since the last post.


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Manny Knowles
"What are these things and WHY are they BLUE???"

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 - posted 12-11-2015 03:53 PM      Profile for Manny Knowles   Email Manny Knowles   Send New Private Message       Edit/Delete Post 
...and now, the DCP...

THE SOUND OF MUSIC
20th Century-Fox, via Deluxe
301GB / 4K / 5.1
2.20AR, pillar-boxed inside 2.39 Container

Contains Intermission card and Entr'Acte music.
Presented as one continuous DCP (not in two parts)
It will not be possible to exclude the intermission.
Shortest possible intermission (i.e. play-thru without pausing) would be 2 minutes.

TRT 2:54:25 (not including pause for Intermission)

1:42:16 - ACT ONE ftb
1:42:18 - INTERMISSION title card
1:42:36 - INTERMISSION title card ftb

1:42:32 - ENTR'ACTE music starts (on black screen)
1:44:37 - ACT TWO image on-screen

2:53:37 - "The End" (first instance of end titles)
2:53:47 - Cast of Characters (first of 2 screens)
2:54:25 - END

Last title on-screen is "Baroness Ebberfeld...."

Bummer about how they handled the 70mm 2.20 aspect ratio, but it looks good, and sounds good (panned dialogue!).

No subtitle option for "sing-a-long"

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