2:76:1 Cinema Screen Ireland (The Hateful Eight)

Zillah

e_e wrote: »

But the point is that the 70MM adds more texture to the film's interiors.

Like one little detail that blew me away (that I really haven't seen in a digitally shot film) is Major Warren taking a sip of coffee and the steam rises and bounces off his hat.

There's no reason 2K wouldn't have captured the exact same image, and if somehow it couldn't resolve such details, try watching something shot, mastered and projected in 4k.

Though I would guess little things like the coffee steam have nothing to do with the resolution of the image and everything to do with the director's planning and the camera person's talent, and the lighting design.

e_e

jaykhunter wrote: »

Reading through this, the Lighthouse have a 70mm projector, but not a 70mm print OR a 2.76:1 screen? So we'll never get to see it as intended unless we leave the country?

IFI has the 70MM projector, plus it'd be silly for a screen with 2.76:1 because that aspect ratio hadn't been used for 50 years prior.

I'm sure like they did with Interstellar IFI will get it a few months down the line.

Sad Professor

jaykhunter wrote: »

Reading through this, the Lighthouse have a 70mm projector, but not a 70mm print OR a 2.76:1 screen? So we'll never get to see it as intended unless we leave the country?

2.76:1 isn't a problem. If the IFI do show it, it'll just be masked/letterboxed like 2.35:1 is most of the time.

reubenreuben

Cant imagine anyone would be nostalgic over sd and vhs. I was around for all those times and glad to see the back of them. But seeing a movie in 70mm is pretty special. I saw 2001 space odyssey in 70mm and it was outstanding. And I wasnt being nostalgic.

Zillah wrote: »

In my opinion this has nothing to do with technology and everything to do with nostalgia. If you were born years later you might be nostalgic about SD v HD, VHS vs DVD, or CDs vs MP3, or books vs Kindle, or handwriting vs moveable type, or any older format vs the newer one.

It's a coincidence of when you were born, and the positive emotional associations you have with it from your youth. Which is all fine. But it makes me want to slap people who think there is some objective qualitative difference that makes the older format superior.

I used to think computer games were better back in the old days. I've learned to not go back to those old games, because it isn't the industry that's changed, it was me. A 12 year-old is very easy to impress.

reubenreuben

Cant imagine anyone would be nostalgic over sd and vhs. I was around for all those times and glad to see the back of them. But seeing a movie in 70mm is pretty special. I saw 2001 space odyssey in 70mm and it was outstanding. And I wasnt being nostalgic.

Zillah wrote: »

In my opinion this has nothing to do with technology and everything to do with nostalgia. If you were born years later you might be nostalgic about SD v HD, VHS vs DVD, or CDs vs MP3, or books vs Kindle, or handwriting vs moveable type, or any older format vs the newer one.

It's a coincidence of when you were born, and the positive emotional associations you have with it from your youth. Which is all fine. But it makes me want to slap people who think there is some objective qualitative difference that makes the older format superior.

I used to think computer games were better back in the old days. I've learned to not go back to those old games, because it isn't the industry that's changed, it was me. A 12 year-old is very easy to impress.

Zillah

reubenreuben wrote: »

Cant imagine anyone would be nostalgic over sd and vhs.

I can't imagine anyone being nostalgic over vinyl and film either but there you go. The scratches and the flaws add to the character of it in some way, the very imperfections are what makes it so great. Many people will simultaneously and paradoxically claim superior image quality too.

But seeing a movie in 70mm is pretty special. I saw 2001 space odyssey in 70mm and it was outstanding. And I wasnt being nostalgic.

Anything 70mm lends us is because of it's absurd effective resolution - not some abstract quality film possesses. Certainly better than your standard 2k cinema projector I'm sure. I would be absolutely shocked if you could tell me the difference between otherwise identical screenings of 70mm and 4k DCP though.

Classic Rock Man

e_e wrote: »

But the point is that the 70MM adds more texture to the film's interiors.

Like one little detail that blew me away (that I really haven't seen in a digitally shot film) is Major Warren taking a sip of coffee and the steam rises and bounces off his hat. It's little things like that that make the film's world feel all the more lived in and tactile. It's not like 70MM would have added that much more the the wide shots of snow and sky. Even watching the DCP both times it felt far more visually rich and immersive than all digital movies I'd seen recently.

That is a good point my man but consider what the potential could've been if we got a proper western (not Reservoir Dogs 2.0) that fully utilized 70mm?

Look at all the best 70mm films:

https://en.wikipedia.org/wiki/South_Pacific_(1958_film)
https://en.wikipedia.org/wiki/Lawrence_of_Arabia_(film)
https://en.wikipedia.org/wiki/My_Fair_Lady_(film)

and of course

https://en.wikipedia.org/wiki/The_Sound_of_Music_(film)


To prove my point watch this:
https://www.youtube.com/watch?v=h_Sj9o7DWJU

This scene in that My Fair Lady is more visually engaging than anything in H8.

The film being set in a cramped cabin was a visual crutch and while I understand that a detail rich environment flourishes in this format it simply didn't take full advantage of the 70mm.

Mec-a-nic

Mebuntu wrote: »

I saw TH8 in the Roadshow Ultra Panavision 70 version at the Odeon Leicester Square.

Saw it there too two weeks ago - same experience as yourself. Their ticketing website is a bit crap, I thought I was picking seats in the center of the floor, but ended up much further back - diminishing the effect of the full screen.

Outdoor scenes were great - didn't mind the indoor ones.

Nerdkiller1991

IT'S HAPPENING!

http://www.ifi.ie/the-hateful-eight-70mm

The 11th of March showing has already been sold out, so they've added an extra day on the 12th.

jaykhunter

Nerdkiller1991 wrote: »

IT'S HAPPENING! http://www.ifi.ie/the-hateful-eight-70mm The 11th of March showing has already been sold out, so they've added an extra day on the 12th.

Thank you sir, you legend!

jaykhunter

Although Fri & Sat 70mm showings are sold out, they've added a bunch of days, Sun-Thurs @ 19:30 https://shop.ifi.ie/event/71350/

Nerdkiller1991

So...anyone else joining us for next Saturday?

Nerdkiller1991

Just got back from the showing and...wow. The amount of detail that can be seen upon the close ups is unreal. Not to mention a vibrant colour palette that digital projectors have trouble replicating. The whole thing is really worth checking out if you haven't booked for the other days.

Also, where where you, Jay? I was hoping to meet ye in person, but the closest thing to that was a guy in a yellow CM Punk shirt.

Victor

househero wrote: »

2:76:1

#screw3d

How can 2d have 3 dimensions in your ratio?

jaykhunter

Nerdkiller1991 wrote: »

Also, where where you, Jay? I was hoping to meet ye in person, but the closest thing to that was a guy in a yellow CM Punk shirt.

Lol, I thought about shouting I'M JAY, where's Nerdkiller?! in the theatre but wussed out

• Sad to say 70mm didn't wow me as most of it is spent indoors in a cabin; outside vistas are just white snow, so cropping to 2.35 or 1.85 wouldn't yield less 'information'.
• Film was overly long, just over 3 hours, not counting the intermission - getting to the first death is half the film. However the intermission was a welcome couple of minutes to stretch the legs and get some fresh air.
• Signature Tarantino is ALL over this film - including incredibly tense monologues from Samuel L Jackson, which are absolutely brilliant. His working through his thinking process of who's the killer is completely engrossing.
• Some really strong performances from Kurt Russel and Walton Goggins.
• Plenty of N-bombs (post Civil War with Jackson being around 2 former Confederates) used ad nauseam to the point of absurdity.
• Gritty, nasty gore from headshots, showing the magnitude, visceral weight of the action.
• Loved The Thing references (part of the score, Kurt Russell, and the confined cabin setup of the film)
• The who-done-it aspect keeps it interesting but since it's so long, I can't imagine a lot of people wanting to see it again.
• It's such a shock to see the thrust of the film being talking, after watching so many 'get to the action scene' films. The characterization is impressive.
Tons more to say about it but I don't want to spoil anything.

Overall: You should definitely see this film once, the regular version. Endure the enjoyable but overly long first half for an excellent, intense, compelling second half. Kurt Russell, Samuel Jackson and Walton Goggins all give excellent performances.

Nerdkiller1991

jaykhunter wrote: »

Lol, I thought about shouting I'M JAY, where's Nerdkiller?! in the theatre but wussed out

• Sad to say 70mm didn't wow me as most of it is spent indoors in a cabin; outside vistas are just white snow, so cropping to 2.35 or 1.85 wouldn't yield less 'information'.
• Film was overly long, just over 3 hours, not counting the intermission - getting to the first death is half the film. However the intermission was a welcome couple of minutes to stretch the legs and get some fresh air.
• Signature Tarantino is ALL over this film - including incredibly tense monologues from Samuel L Jackson, which are absolutely brilliant. His working through his thinking process of who's the killer is completely engrossing.
• Some really strong performances from Kurt Russel and Walton Goggins.
• Plenty of N-bombs (post Civil War with Jackson being around 2 former Confederates) used ad nauseam to the point of absurdity.
• Gritty, nasty gore from headshots, showing the magnitude, visceral weight of the action.
• Loved The Thing references (part of the score, Kurt Russell, and the confined cabin setup of the film)
• The who-done-it aspect keeps it interesting but since it's so long, I can't imagine a lot of people wanting to see it again.
• It's such a shock to see the thrust of the film being talking, after watching so many 'get to the action scene' films. The characterization is impressive.
Tons more to say about it but I don't want to spoil anything.

Overall: You should definitely see this film once, the regular version. Endure the enjoyable but overly long first half for an excellent, intense, compelling second half. Kurt Russell, Samuel Jackson and Walton Goggins all give excellent performances.

Awww man, you were there? I should have said online before I went that I was gonna be going in my blue Mega Drive shirt, but I was really hoping for the latest OSW shirt to arrive so you could at least find me without the need for me to state it beforehand (especially after watching your latest Q and A vidjo).

As for the movie itself...I think the whole point was that we really shouldn't be laughing at these dicks, considering the terrible things that most of the cast do. I mean, that scene just before the intermission had me howling...until I thought about it after, and thought to myself..."Oh my. Did I really laugh at that?" It almost seems deliberate of Tarantino to be doing this sort of thing.

e_e

Heading in to it later. They're not playing trailers beforehand are they?

megaten

On Saturday there was a 2001 remastered trailer but that was it.

e_e

That was every bit as glorious as I wanted. The opening credits, ****ing hell. Something about those landscapes with Ennio Morricone's excellent score and the cut to "The 8th film by Quentin Tarantino" as the percussion kicks in. Pure cinema.

Even the times the film cut from darkness to daylight felt much more striking than on the DCP version but it really is the interiors where the texture and detail of film helps. I love how with this film Tarantino lets you study the frame and there's so many great clues and foreshadowing in that first half.

I stand by that this was his best film in 18 years and this screening only strengthened that view for me.