Sinners (2025)(Request)

[Aaron Garman]

Anyone who has handled the various prints and DCPs, can you provide all the technical information? Thank you!

[Chris Haller]

STUDIO: WARNER BROS. PICTURES DIST. - DOMESTIC
RUN TIME: 02:17:23
CREDIT START TIMECODE: 02:03:56
CRAWL START TIMECODE: 02:10:56
TOTAL PACKAGE SIZE: 221 GB IMAGE
FORMATS: 2D 4K Scope
AUDIO FORMATS: 5.1, 7.1, Atmos
ACCESSIBILITY FEATURES: CCAP, OCAP, HI, VI

Sinners also comes packaged with a S-276 framing chart, as Sinners is presented in 2.76:1 within the 2.39:1 scope DCP.

[Ryan Gallagher]

The director wants us all to see it about 11 times to get the full experience. ;-)

Fun watching him describe these formats to a lay-person audience.

[Ryan Gallagher]

So Sinners 70mm print question. Did they strike true Ultra Panavision 70 prints (relegating them to select theatres with those lenses?). Or did they strike matt-boxed 2.76:1 normal non-anamorphic style prints so that every 70mm house could easily run them? And if yes, did they include the aspect changes too?

My impression from the director's overview is they went hard-core mode and required the de-squeeze lenses. As they should, just not many originals of those around.

Basically, is this another lens pair I should be trying to track down if we ever want to show Sinners in one of the more special intended iterations? Our film programmer is a A24 fan and has booked contemporary prints from them in the past despite our "classic" title to our film series. So it's probably on his bucket list.

[Scotty Wright]

So Sinners 70mm print question. Did they strike true Ultra Panavision 70 prints (relegating them to select theatres with those lenses?). Or did they strike matt-boxed 2.76:1 normal non-anamorphic style prints so that every 70mm house could easily run them? And if yes, did they include the aspect changes too?

My impression from the director's overview is they went hard-core mode and required the de-squeeze lenses. As they should, just not many originals of those around.

The team at the Prytania in New Orleans posted a reel on Instagram that showed their projection lens.

And in the Film Handlers Review Thread, Brad confirmed that they went so hardcore that they struck squeezed One Battle After Another trailer prints screening in front of Sinners’ shows.

[Ryan Gallagher]

Ah yes, I forgot that tid bit already posted in review. The 1.25x quest begins.

[Harry Smolin]

Adding onto the info above:

CPL files:

Sinners_FTR_S-276_EN-XX-CCAP_OV_51-HI-VI_4K_WR_20250326_DLX_SMPTE_OV
Sinners_FTR_S-276_EN-XX-CCAP_OV_71-Atmos-HI-VI_4K_WR_20250326_DLX_SMPTE_VF
Sinners_FTR_S-276_EN-XX-CCAP_OV_71-HI-VI_4K_WR_20250326_DLX_SMPTE_VF
Sinners_FTR_S-276_EN-XX-OCAP_OV_51-HI-VI_4K_WR_20250326_DLX_SMPTE_VF
Sinners_FTR_S-276_EN-XX-OCAP_OV_71-HI-VI_4K_WR_20250327_DLX_SMPTE_VF

R rating tag also included (CPL file: MPA-R-2D_RTG_S_EN-XX_US-R_51_4K_20210122_DTB_SMPTE_OV)

Framing chart also included and diagram included with the letter attached here (CPL file: Sinners-FramingChart_TST_S-276_EN-XX_OV_MOS_4K_WR_20250304_DLX_SMPTE_OV)

No trailers included with the package, but WB requested in their weekly trailer document that two of the three trailers below be run with the film:
F1 TLR-2 (CPL file: F1_TLR-2_S_EN-EN-CCAP_US-GB_51-HI_4K_WR_20250314_DLX_SMPTE_OV)
Final Destination: Bloodlines TLR-2 (CPL file: FD6_TLR-2_S_EN-EN-CCAP_US-GB_51-HI_4K_WR_20250328_DLX_SMPTE_OV)
One Battle After Another TLR-2 (CPL file: OneBattleAfter_TLR-2_S_EN-XX_US-GB_51_4K_WR_20250327_MPI_SMPTE_OV)

The following exhibition note is also included:
"Note for the aspect ratio: SET UP FOR A SCOPE SHOW (2.39). The feature content is 2.76 aspect ratio and is letterboxed in a 2.39 container. The black bars at the top and bottom of the screen are normal.

*Please note that this package includes an unencrypted framing chart DCP. See Diagram in page 1 for reference*"

Additional info from testing it:
There is footage that cuts in and out throughout the initial credits. Following this, a mid-credits scene starts at 2:05:25. The scene cuts out at 2:10:45 and is followed by the film’s title fading in 3 seconds later. After another 3 seconds of black following the title, the crawl starts. A post-credits scene starts at 2:16:07, followed by the closing WB logo at 2:17:16.

Note that if you run the film with a 2.76 lens and masking, when you run the R rating card, the MPA and Film Ratings URLs will appear very close to the bottom of the screen, as if just touching the edge of it, but will still be visible.