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Riddle Of Fire (2023)
6 Reels SCOPE DolbySR™
35mm / Kodak 2383
This was apparently shot on 16mm and had a mostly DCP release.
The 35mm prints are direct positive film-outs from whatever video format
they used for editing the DCP's. Both the film and DCP have a slightly
greenish tint in the blacks, and suffer from some motion jitter artifacts
on scenes with fast horizontal movement or camera pans. Darker
scenes are a bit grainy, and expanding it to SCOPE doesn't help
things. However I'm probably being a bit overcritical about the technical
details- nobody in our usually picky SF audience seemed to mind the
these faults. The only feedback I got was a customer who sent a note
to the booth which said: "The projectionist needs to adjust framing,
because there's a microphone in the shot"
(Just for the record, I had double checked framing & masking settings
with an RP-40 before this show, since I had just converted the projectors
back to 35mm after running 70mm for several weeks. Also, being a
SCOPE picture, there's very little wiggle-room, framing wise- if I was
off, even a tiny bit, a frame line would have been visible. I should start
a scrapbook with all the funny notes I get from customers sometimes)
6 Reels SCOPE DolbySR™
35mm / Kodak 2383
This was apparently shot on 16mm and had a mostly DCP release.
The 35mm prints are direct positive film-outs from whatever video format
they used for editing the DCP's. Both the film and DCP have a slightly
greenish tint in the blacks, and suffer from some motion jitter artifacts
on scenes with fast horizontal movement or camera pans. Darker
scenes are a bit grainy, and expanding it to SCOPE doesn't help
things. However I'm probably being a bit overcritical about the technical
details- nobody in our usually picky SF audience seemed to mind the
these faults. The only feedback I got was a customer who sent a note
to the booth which said: "The projectionist needs to adjust framing,
because there's a microphone in the shot"
(Just for the record, I had double checked framing & masking settings
with an RP-40 before this show, since I had just converted the projectors
back to 35mm after running 70mm for several weeks. Also, being a
SCOPE picture, there's very little wiggle-room, framing wise- if I was
off, even a tiny bit, a frame line would have been visible. I should start
a scrapbook with all the funny notes I get from customers sometimes)