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» Film-Tech Forum   » Operations   » Feature Info, Trailer Attachments & REAL Credit Offsets   » Hateful Eight, The (2015)

   
Author Topic: Hateful Eight, The (2015)
Scott Norwood
Film God

Posts: 7966
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 12-23-2015 08:12 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
amazingly, no one has posted this yet:

70mm version:
10 reels
Ultra Panavision 70 - 2.76:1
Datasat (nee DTS) (soundtrack ships on both disks and a flash drive--a first?)
Kodak 2383 - prints by Foto-Kem

intermission between R6 and R7

the prints for changeover houses are configured thusly:

shipping reel 1 - R1AB R2AB
shipping reel 2 - R3AB R4AB
shipping reel 3 - R5AB R6ABC
shipping reel 4 - R7AB R8AB
shipping reel 5 - R9AB R10AB

there are ultrasonic splices between the A/B/C sections

R6C is the intermission reel and consists of black film with timecode (why?); it shows up as "reel 13" on an XD20 and there is no sound through that reel, except (*** IMPORTANT ***) there _is_ a tail pop (quick beep) at the end of R6C. Be sure not to play this tail pop. R6C actually does have c/o cues that could presumably be followed in order to prevent this, but that is not very helpful for venues with curtains that will close them (and the projector douser) during the intermission.

Edit: R3 (start of shipping reel #2) begins with a normal scene with picture and quickly cuts to black (intentional, but annoying); R4 (end of shipping reel #2) cuts to black shortly before the motor cue (also intentional and also annoying)

[ 12-30-2015, 05:22 PM: Message edited by: Scott Norwood ]

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Steve Kraus
Film God

Posts: 4051
From: Chicago, IL, USA
Registered: May 2000


 - posted 12-29-2015 07:30 PM      Profile for Steve Kraus     Send New Private Message       Edit/Delete Post 
DCP of the roadshow version:

I didn't note these to the second so programming your automation will still require your own test run but will give you the idea and should be sufficient to get you through a manually operated show.

Overture (with graphic on screen the whole time) runs to 3:20.
Followed by a stylized Weinstein logo, and a Cinerama logo.

Intermission comes in at about 1:41. It says Intermission and then goes dark and quiet. It's a rolling intermission.

We come back in with the entr'acte (it's actually a singer) just after 1:53 and movie resumes about 1:54.

Studio supplied credit offset (unverified): 3:02:52

Total length: 3:07:14

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Lyle Romer
Phenomenal Film Handler

Posts: 1379
From: Davie, FL, USA
Registered: May 2002


 - posted 12-30-2015 09:22 AM      Profile for Lyle Romer   Email Lyle Romer   Send New Private Message       Edit/Delete Post 
Is the DCP 2k or 4k?

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Steve Kraus
Film God

Posts: 4051
From: Chicago, IL, USA
Registered: May 2000


 - posted 12-30-2015 09:58 AM      Profile for Steve Kraus     Send New Private Message       Edit/Delete Post 
It is 4K. 175GB.

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Jim Cassedy
Phenomenal Film Handler

Posts: 1537
From: San Francisco, CA
Registered: Dec 2006


 - posted 01-05-2016 10:33 AM      Profile for Jim Cassedy   Email Jim Cassedy   Send New Private Message       Edit/Delete Post 
quote: Scott Norwood
there _is_ a tail pop (quick beep) at the end of R6C.
This must be unique to your particular print.
I've run two different 70mm prints and haven't encountered this.

quote: Scott Norwood
R6C is the intermission reel and consists of black film with timecode (why?)
As you probably know, DTS playback units are usually configured to switch
to SOMETHING if they loose time code for a set period of time.

At my location, the XD-10 everything is run manually, so its' automation
outputs are not connected to switch to anything.

But if you were at a venue where it tried to switch your processor to a
(possibly non existent) Dolby Digital or SR input, it might introduce some
noise into the audio system output. So, I believe the time code simply
insures "digital silence" during the intermission.

Also, I like having the time code there during the intermission because I
can check the read-out on the DTS player and see exactly how much time I
have left in the intermission. (Very helpful if I need to run to the restroom!)

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Scott Norwood
Film God

Posts: 7966
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 01-05-2016 02:18 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
The tail pop may actually be on the tail leader of R6C ("R13"). Not sure if your prints were pre-built platter prints or reel-to-reel prints, but it is apparently (and correctly) not part of the platter prints. On the reel-to-reel prints, the (easy) workaround is to mute the processor once the "INTERMISSION" title fades in.

Having the timecode on the intermission reel to prevent a reversion to some other sound format makes perfect sense.

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Allan Riddelll
Film Handler

Posts: 30
From: msida , malta, europe
Registered: Jan 2009


 - posted 01-08-2016 09:55 AM      Profile for Allan Riddelll   Email Allan Riddelll   Send New Private Message       Edit/Delete Post 
Well Steve I'm glad you received a DCP of the roadshow version. I've just ingested mine and I didn't even have a choice. Mine runs 2.47.48 and the files do state MLTPLX (Multiplex). Whether this is a concious decision from the UK distributors is debatable but I was quite looking forward to introducing a bit of showmanship again. I know these embellishments are essential in 70mm presentation but not all multiplex operators are cheap booth monkeys who are pig ignorant of overture, entr'acte and intermissions. I am pissed off big time !

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Ian Freer
Expert Film Handler

Posts: 133
From: Wellington, New Zealand
Registered: Oct 2003


 - posted 01-08-2016 02:57 PM      Profile for Ian Freer   Email Ian Freer   Send New Private Message       Edit/Delete Post 
How has the aspect ratio been treated on the DCP's, both roadshow and multiplex?

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Carsten Kurz
Film God

Posts: 3681
From: Cologne, NRW, Germany
Registered: Aug 2009


 - posted 01-09-2016 07:06 AM      Profile for Carsten Kurz   Email Carsten Kurz   Send New Private Message       Edit/Delete Post 
Well I guess there is not much choice, a 4096 pixel wide scope container with a letterboxed 2.76 image I'd say.

- Carsten

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