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» Film-Tech Forum ARCHIVE   » Community   » Film-Yak   » Tarantino's Hateful Eight to get 70mm roadshow engagement? (Page 1)

 
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Author Topic: Tarantino's Hateful Eight to get 70mm roadshow engagement?
Aaron Garman
Phenomenal Film Handler

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From: Toledo, OH USA
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 - posted 07-30-2014 10:36 AM      Profile for Aaron Garman   Email Aaron Garman   Send New Private Message       Edit/Delete Post 
Link

quote:
“Yeah – We’re going to be doing 'The Hateful Eight.' ” is all Quentin Tarantino would say about his developing western when asked about the status of the movie at Comic-Con last weekend. But could plans be much further along that he's letting on? Well, it would certainly appear that way as before a frame has even been shot, the first poster/promo for the movie has arrived, and no it's not a fan made deal either.

Via the eagle eyes at Film Divider, next week's issue of Empire magazine will feature a full page one sheet (see below) for the movie, with a "Special Roadshow Engagement" for the movie promised for 2015, in CinemaScope too. Damn. But is this even possible? It certainly is. Kurt Russell — one of the actors who joined Tarantino for a live read of the script earlier this year (read our review) — revealed recently that an early 2015 shoot was being eyed, so a release late in the year is very feasible. And given that most of the action in this one is in a couple of contained locations, the production will likely be a bit faster than "Django Unchained." And it also looks like his plans to shoot in 70mm still seems to be intact.

Between this and a possible release of "Kill Bill: The Whole Bloody Affair," 2015 is looking like a banner year for Tarantino fans. Check out the poster below.

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Mike Blakesley
Film God

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From: Forsyth, Montana
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 - posted 07-30-2014 12:07 PM      Profile for Mike Blakesley   Author's Homepage   Email Mike Blakesley   Send New Private Message       Edit/Delete Post 
That's cool about the roadshow engagement. I hope they do the full thing with an intermission and wraparound music.

The only bad thing about Tarantino westerns is, they play better to Tarantino fans than they do to Western fans -- a lot of whom are older people who don't like graphic violence.

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Frank Angel
Film God

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From: Brooklyn NY USA
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 - posted 07-30-2014 12:29 PM      Profile for Frank Angel   Author's Homepage   Email Frank Angel   Send New Private Message       Edit/Delete Post 
What's the availability of 70mm stock these days? Or 70mm-capable processing/printing labs? Or commercial THEATRES that can run 70mm? What will it be like in 2015? It a fast changing (mostly deminishing) playing field in all aspects of an actual 70mm production.

Never liked westerns anyway.

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Rick Raskin
Phenomenal Film Handler

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 - posted 07-30-2014 01:35 PM      Profile for Rick Raskin   Email Rick Raskin   Send New Private Message       Edit/Delete Post 
Since when does Roadshow mean 70mm. I ran Roadshow of "Nicholas & Alexandra" in 35mm.

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Pete Naples
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 - posted 07-30-2014 04:03 PM      Profile for Pete Naples   Email Pete Naples   Send New Private Message       Edit/Delete Post 
If this is true I have 3 venues under my care capable of playing this [Smile]

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Joe Redifer
You need a beating today

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 - posted 07-30-2014 04:35 PM      Profile for Joe Redifer   Author's Homepage   Email Joe Redifer   Send New Private Message       Edit/Delete Post 
Yes, it'll be an anamorphic super cinemascope 70mm print. And only one print which will be shuffled from theater to theater. It will look fantastic at each of them because 70mm is always fantastic, never bad and 70mm projectionists never cause harm to a film print. Tarantino would never put a logo like this in his ads just because he thinks they're cool.

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Monte L Fullmer
Film God

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From: Nampa, Idaho, USA
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 - posted 07-30-2014 04:40 PM      Profile for Monte L Fullmer   Email Monte L Fullmer   Send New Private Message       Edit/Delete Post 
Call it "Camera 65" with the 1.25:1 squeeze to get a 2.77:1 image on the screen.

Be interesting to see this all get together.

It's almost a hint that digital isn't the "Knight in Shining Armor" as it was planned out to be.

There is the side note in the news that Kodak, even though they took a hit in film stock production, is planning on staying alive after Fujifilm left us.

"Super CinemaScope" - wonder if TCF still owns the copyright on this logo, or did it fall into public domain? If not, TCF probably wants a touch of royalty for the usage of the slogan.

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Scott Norwood
Film God

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From: Boston, MA. USA (1774.21 miles northeast of Dallas)
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 - posted 07-30-2014 05:01 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
65mm camera stock and 70mm 2383 print stock are regular items listed in the current Kodak motion-picture catalog.

The processing and printing infrastructure still exists due to Imax production and printing. Not sure on mag-striping capabilities, but any 70mm prints would probably be DTS, anyway.

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Steve Guttag
We forgot the crackers Gromit!!!

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 - posted 07-30-2014 05:26 PM      Profile for Steve Guttag   Email Steve Guttag   Send New Private Message       Edit/Delete Post 
Foto-kem seems to be the survivor on 65/70 printing.

I'm sure the AFI/Silver would like playing it in 70mm in the DC-Metro area.

I would be amazed if there are any facilities left to strip prints so my money would be on DTS...er Datasat.

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Mike Blakesley
Film God

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From: Forsyth, Montana
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 - posted 07-30-2014 05:37 PM      Profile for Mike Blakesley   Author's Homepage   Email Mike Blakesley   Send New Private Message       Edit/Delete Post 
quote: Monte L Fullmer
It's almost a hint that digital isn't the "Knight in Shining Armor" as it was planned out to be.
It's a gimmick, is what it is.

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Claude S. Ayakawa
Film God

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From: Waipahu, Hawaii, USA
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 - posted 07-30-2014 06:25 PM      Profile for Claude S. Ayakawa   Author's Homepage   Email Claude S. Ayakawa   Send New Private Message       Edit/Delete Post 
"Super CinemaScope" ? There is no such thing as Super CinemaScope but,Fox had a process called CinemaScope 55. Only two films, CAROUSEL and THE KING & I was photographed with it. It was a 55mm process but both of the films were exhibited in 35mm only during their initial showings. THE KING & I was shown later in 70mm in a few venues. Tarantino might shoot his new movie in either Super Panavision 70 or Ultra Panavision (Camera 65) and advertise it as Super CinemasScope. I wonder if he will have to pay Fox a fee for the rights to use their 'scope' brand name?

-Claude

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Connor Wilson
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From: Sterling, VA, USA
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 - posted 07-30-2014 08:37 PM      Profile for Connor Wilson   Email Connor Wilson   Send New Private Message       Edit/Delete Post 
Who gives about "Super CinemaScope?" I would just assume it's Tarantino's vanity plate for his 70mm film(s). Derivative, yes, maybe he got the license from Fox, maybe not, but who cares? Is Tarantino going to bypass the digital intermediate for 70mm prints? A film-out from a 4K DI to 70mm won't be sufficient enough. I want a print duped from the negative, not the DI bull.

I am very supportive of a 70mm revival, as in new films being shot and released in the format, but in my heart I know it's a wet dream. 65mm stock is hard to come by, IMAX is dropping 15/70mm support by the end of the year, and most exhibitors don't have the money for a 70mm projector and know next to nothing about proper handling of 70mm prints.

In the unlikely resurgence of 70mm, I wish that Datasat could get 70mm sound to be up to speed with DCP. I'm talking about a 48kHz/24bit multichannel 7.1 LPCM stream stored on a Blu-ray and synchronized with an updated timecode system. Perhaps an upgrade to Dolby Atmos or DTS MDA to match the 70mm picture quality. The old DTS-70 method is antiquated, but served its purpose.

I had no interest in Tarantino's last two films and am not very excited about The Hateful Eight other than 70mm.

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Bobby Henderson
"Ask me about Trajan."

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 - posted 07-30-2014 10:22 PM      Profile for Bobby Henderson   Email Bobby Henderson   Send New Private Message       Edit/Delete Post 
Both the CinemaScope name/logo and that particular 70mm logo (first introduced in advertising for Star Trek II: The Wrath of Khan) are both registered trademarks. Although in the case of the 70mm logo I don't know who owns it. Paramount Pictures maybe? They used that logo the most, although 20th Century Fox used it heavily in advertising for Die Hard.

Obviously Tarantino is just doing a mashup of both brands as a double shot of nostalgia. I doubt if he would actually use anamorphic lenses and 65mm together since few if any theaters at all could actually show a 2.7:1 Ultra Panavision 70 image without letter-boxing it significantly.

Regarding the question of whether the movie will be forced through a digital intermediate and its limited resolution bottleneck, I'd give it a 50-50 chance. Hopefully the movie would be processed in a purely film-in and film-out method.

However, use of a digital intermediate in post wouldn't be the end of the world. But the film would have to be scanned and digitally treated in a lot higher resolution than mere 4K. To do the 70mm format any justice both the scan and DI would need to be at least 8K or higher. If the DI is rendered in 4K there wouldn't be any point in doing a film out to 70mm. Might as well just generate 35mm 'scope prints instead if the DI is only 4K.

While a purely film-based post production work flow would be nice it has its own drawbacks. There will be some generational loss going from original negative to interpositives and internegatives that would be used in color timing. By the time the image gets to 70mm release prints it's not going to look quite as great as the 65mm negatives even though the prints will beat the shit out of 2K and 4K digital shows (this is assuming proper film projection practices).

Obviously DTS/Datasat would be used in some form for the audio on 70mm prints. However, with DTS working on that Open MDA thing there is at least some chance of an advanced, object oriented sound mix being available to run with the 70mm prints. I'm wondering if there's any way to run a format like Dolby Atmos in conjunction with a 70mm print, other than somehow running a DCP and 70mm print in sync with each other.

quote: Connor Wilson
In the unlikely resurgence of 70mm, I wish that Datasat could get 70mm sound to be up to speed with DCP. I'm talking about a 48kHz/24bit multichannel 7.1 LPCM stream stored on a Blu-ray and synchronized with an updated timecode system.
A 7.1 24/48 LPCM track wouldn't need to be recorded onto something like a Blu-ray disc. A DVD-R disc would suffice. Even a USB memory stick would do fine. Even something like a 9.1 or 11.1 LPCM track could fit on conventional media. It wouldn't matter anyway, the audio data would be dubbed onto a hard disc system for actual playback.

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Scott Norwood
Film God

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From: Boston, MA. USA (1774.21 miles northeast of Dallas)
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 - posted 07-30-2014 10:25 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
Does DTS/Datasat have a 70mm failsafe kit (allows one set of readers to drive two players and switch one player in as a backup in case the primary player fails) for the XD20? I have only seen thise used with the 6Ds.

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Mark Gulbrandsen
Resident Trollmaster

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From: Music City
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 - posted 07-30-2014 10:37 PM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
Gulliver Arane outside of Paris is actually doing most of the 70mm relese printing these days. Here is a nifty article about them from Thomas's site.

Mark

Gulliver Arane 65/70mm film lab

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