Oppenheimer Shot IMAX

[Kino]

Can someone explain, in simple terms, what color timing is? It's something I've heard about, but reading here it occurs to me that I don't know what it means.

Adjusting the color balance and overall density, shot to shot, to make the film cohesive and uniform.

More typically called "colour grading" in Europe; not to be confused with digital color grading.

Clear as mud?

 

[Ben 4]

Got it—thanks!

 

[MattKing]

Color timing/grading should be considered in the light of the fact that the final cut negative is being printed on to projection stock.
I'm assuming that the timing/grading decisions are made when creating intermediate negatives, which are then, after final edit, printed on to the final projection stock.

 

[Kino]

Color timing/grading should be considered in the light of the fact that the final cut negative is being printed on to projection stock.
I'm assuming that the timing/grading decisions are made when creating intermediate negatives, which are then, after final edit, printed on to the final projection stock.

Typically the cut original negative is graded and printed (and re-graded) with the sound negative, producing "Answer Prints".

When the cut negative is "locked", (i.e, the final form) the answer printing continues (if needed) until a "Show Print" or multiple Show Prints are struck directly from the original negative. At least one show print is held by the studio in cold storage to retain as a reference for any future releases or if questions come up about subsequent printings.

Then the inter positive is struck from this timing and one or more dupe negatives are struck from the inter positive. Each dupe neg must be printed and approved, as there may be slight color/density shifts, but once approved, they are turned-over for release printing of the positive prints that go to the theater.

If any dupe neg is damaged or is worn beyond acceptable standards during release printing, they go back to the inter positive and strike replacement sections or an entirely new dupe negative.

Of course, some make multiple inter positives and extra dupe negatives and even B&W color separations if the budget allows.

That's the general outline; everyone does it differently according to their needs and budget restraints, but that's the basic workflow.

 

[bfilm]

I am curious how many are still doing analog postproduction. I have the impression that even most of those who still choose to record on film just then scan and do all digital postproduction. I don't think most even make film prints anymore, unless perhaps one for the archive.

I hope there are still some (more than just one or two) doing the whole analog process on new movies, but I hear less about anyone doing analog postproduction than recording on film.

 

[Kino]

I am curious how many are still doing analog postproduction. I have the impression that even most of those who still choose to record on film just then scan and do all digital postproduction. I don't think most even make film prints anymore, unless perhaps one for the archive.

I hope there are still some (more than just one or two) doing the whole analog process on new movies, but I hear less about anyone doing analog postproduction than recording on film.

It's a "that depends" sort of situation. Nolan can command resources few others have access to and has the budget to resurrect processes not available to other filmmakers.

I do know that many young filmmakers are trying desperately to go the pure photo chemical route by forming Production Clubs and Organizations in large metropolitan areas of the World. They scavenge old equipment, repair it or re-design replacement units using 3D printing and plain old machine shop work.

The biggest issue now is NOT availability of origination film stocks (negative), but the lack of many of the old inter positive, CRI and specialty stocks used in post production.
This, coupled with the almost total lack of currently manufactured post production equipment (printers, optical sound recorders, etc.) causes big problems. There are almost no new spare parts and most equipment is at least 20 to 70 years old.

Ironic. We thought the film would disappear first, but it's the lack of functional equipment that is making it hard. Most labs and studios sold their film related equipment for scrap value in the 1990's. The equipment manufacturers closed doors at around that time also...

 

[Alan Edward Klein]

Filmm has a diofferent look which is

I used to love going to the theater until my fellow humans decided it was a place to go chat and talk on their phones.

Movie theaters need to implement cell phone blocking.

The theaters are empty enough. What parent is going to go to a movie knowing that the babysitter can't reach her in case of an emergency?

 

[Alan Edward Klein]

It's a "that depends" sort of situation. Nolan can command resources few others have access to and has the budget to resurrect processes not available to other filmmakers.

I do know that many young filmmakers are trying desperately to go the pure photo chemical route by forming Production Clubs and Organizations in large metropolitan areas of the World. They scavenge old equipment, repair it or re-design replacement units using 3D printing and plain old machine shop work.

The biggest issue now is NOT availability of origination film stocks (negative), but the lack of many of the old inter positive, CRI and specialty stocks used in post production.
This, coupled with the almost total lack of currently manufactured post production equipment (printers, optical sound recorders, etc.) causes big problems. There are almost no new spare parts and most equipment is at least 20 to 70 years old.

Ironic. We thought the film would disappear first, but it's the lack of functional equipment that is making it hard. Most labs and studios sold their film related equipment for scrap value in the 1990's. The equipment manufacturers closed doors at around that time also...

30 theaters across the world show Oppenheimer photographed in film and projected in film. The rest convert to digital for projection in varying degrees of resolution and format.

Oppenheimer launched a new debate about ‘true IMAX’

What is true IMAX? Where can you see Oppenheimer in true IMAX? Is fake IMAX obvious? We explain

www.polygon.com

 

[cmacd123]

Can someone explain, in simple terms, what color timing is? It's something I've heard about, but reading here it occurs to me that I don't know what it means.

The term is from the old B&W silent days. when the exposure from the negative to the print depended on how long the film was in the light (something like enlarging)

basically these days it is how much light of each of the three colours is used " and you will hear that counted in "Points". (typically the printer is set so NORMAL exposure is 25 "Points" and a given scene may need more or less.)

 

[cmacd123]

looking around I found this little 8 Minute documentary made by Fotochem, which is the lab in LA that Nolan uses. they show the Lady that they bring over from Paris, who is one of the few folks in the world who is skilled at Cutting the 65 MM original Camera negative. the cinematographer on the project also talks about what they were trying to achieve. Also the effort to switch a colour processor to do B&W! (and back again! )

 

[cmacd123]

the other interesting one that turned up is this page from the Motion Picture editors Guild (IATSE Local 700) in house publication taking about the Post production steps for the Movie.

How Jennifer Lame and the Post Team Helped Turn ‘Oppenheimer’ Into an Epic Smash - CineMontage

Working with film took Lame back to the dawn of her career. Lame noted that most editors her age and younger have worked only in the digital world, so the film workflow may not be familiar to them. “My first job was working on a film movie, ‘Before the Devil Knows You’re Dead.’ That was shot on...

cinemontage.org

they talk about having to cut BOTH the 65mm 5 perf and the IMAX negatives The 35mm prints were printed by reduction peinting from the IMAX negative as were the digital scans for theatres who only can show Movies on DIgital Video.

 

[chuckroast]

Filmm has a diofferent look which is


The theaters are empty enough. What parent is going to go to a movie knowing that the babysitter can't reach her in case of an emergency?

If theaters want more business, they need to govern the behavior of their audiences. I'm not payig $20 per ticket to listen to people next to me blather and eat.

 

[Kino]

If theaters want more business, they need to govern the behavior of their audiences. I'm not payig $20 per ticket to listen to people next to me blather and eat.

Alamo Drafthouse Cinemas have a great policy of no phone use and no talking during the show. One warning then ejection without a refund and I have seen them do it. This is made perfectly clear to the audience before the show starts.

They also serve food and drink that is quite tasty.

If I do go to a movie, it is at Alamo...

 

[MattKing]

looking around I found this little 8 Minute documentary made by Fotochem, which is the lab in LA that Nolan uses. they show the Lady that they bring over from Paris, who is one of the few folks in the world who is skilled at Cutting the 65 MM original Camera negative. the cinematographer on the project also talks about what they were trying to achieve. Also the effort to switch a colour processor to do B&W! (and back again! )

That is one of the features on the additional materials disk that accompanies the Oppenheimer Blue Ray. I assumed that the 65mm cutter was brought over from the UK, because of the accent .

 

[Fujicaman1957]

If theaters want more business, they need to govern the behavior of their audiences. I'm not payig $20 per ticket to listen to people next to me blather and eat.

Amen !

 

[Agulliver]

If theaters want more business, they need to govern the behavior of their audiences. I'm not payig $20 per ticket to listen to people next to me blather and eat.

Earlier this week I attended a showing of Dune part II at one of the nicer VUE cinemas...you know, big reclining leather seats. £15 ticket. Some actual care taken with the sound and picture. Right before the feature they always have an announcement about turning off phones and immersing yourself in the film.

But of course there were at least two people in my eyeline who periodically checked phones. One was playing a game, I am assuming he was accompanying his offspring and wasn't interested but it is still, surely, very rude behaviour. It does distract.

Now....I have someone in my life who might have a medical emergency so I do have an app on my phone that will alert me in all but airplane mode. But under anything like normal circumstances, my phone is in what I call "silent running" mode in my pocket, not to be looked at until after the credits roll. And in any case, on this occasion the aforementioned person was sitting next to me.

I am unsure when it happened, but it has become socially acceptable to use phones during films. It's all very sad and I think cinemas should do more to prevent it. They have IR cameras and occasional visits from staff to ensure nobody is filming the screen - when bootlegs haven't been done that way for years. They could use this to stop people using phones. More than once and you're out. And if that means your kids are out too because you're accompanying them....it's your responsibility to explain why you ruined their day out.

In this age when it is entirely feasible to have quite a large screen and a full on 5.1 sound system at home....the cinemas do need to offer something extra. Popcorn ain't cutting it.

 

[VinceInMT]

….I am unsure when it happened, but it has become socially acceptable to use phones during films…

That and numerous other behaviors. Perhaps we can compile them on the Pet Peeves thread.

It was not only that stuff that contributed to why I quit going to the movies decades ago but also the content. Like with television, I found myself bored with seeing the same stories recycled and rebooted over and over again, a complete lack of novelty. Better sound, better SFX, bigger named stars, just aren’t enough when the same stories are told over and over. I don’t have cable or streaming at home and don’t have a way to play DVDs or Blue Ray or whatever the current medium is. The flat screen TV my kid gave me makes a pretty good rack for hanging by various headphones. But I am glad that others find stuff that entertains them.

 

[Alan Edward Klein]

If theaters want more business, they need to govern the behavior of their audiences. I'm not payig $20 per ticket to listen to people next to me blather and eat.

I haven't noticed too much blathering. Eating during the movie, especially popcorn, is an established benefit. The seats are more comfortable than they used to be—Larger and reclining. I think what holds people back is the cost. It's cheaper to sit at home and watch Netflix. Of course the problem with that is you're home and not out and about living life.

 

[koraks]

It's cheaper to sit at home and watch Netflix. Of course the problem with that is you're home and not out and about living life.

The difference between Netflix and watching a movie in our local theater is a 15 minute round trip in the car and €30. Otherwise, it entails the same degree of 'living life', really, for us.
I see what you mean though - it makes a difference if you make an outing of it; go eat in a restaurant, stick around for drinks etc. But that's not so much about the movies anymore, is it?

why I quit going to the movies decades ago but also the content.

We skip the big budget productions for the most part and stick to that more international mishmash referred to as 'arthouse'. Don't expect the depth of a decent novel in the majority of the movie productions, even within the arthouse genre - although there are exceptions, like the works of Paolo Sorrentino and (to a lesser extent IMHO) Ruben Östlund. There's more to movies than just the story - it's a bit like Italian opera; many of those are still worthwhile listening to even though the stories are invariably tacky and beaten to death. (I was about to mention Wagner, but let's face it, he was original in terms of the story content as well!) Or the umpteenth Madonna with Child; we know that story by now, and yet, Raphaël's renditions remain compelling masterpieces. It's similar with movies, where there's artistry to be enjoyed in e.g. photography. Try to see it as a 'gesamtkunstwerk' and it makes a whole lot more sense. You don't read a novel only for the narrative, either, right? It's also about the author's use of language, their ability to conjure up lifelike characters, etc.
Sorry about the preaching; if you don't like movies, that's perfectly fine. To each their own.

 

[VinceInMT]

...There's more to movies than just the story - it's a bit like Italian opera; many of those are still worthwhile listening to even though the stories are invariably tacky and beaten to death. (I was about to mention Wagner, but let's face it, he was original in terms of the story content as well!) Or the umpteenth Madonna with Child; we know that story by now, and yet, Raphaël's renditions remain compelling masterpieces. It's similar with movies, where there's artistry to be enjoyed in e.g. photography. Try to see it as a 'gesamtkunstwerk' and it makes a whole lot more sense. You don't read a novel only for the narrative, either, right? It's also about the author's use of language, their ability to conjure up lifelike characters, etc.
Sorry about the preaching; if you don't like movies, that's perfectly fine. To each their own.

I agree, in general. I used to frequent the "art house" theaters when I lived in California but there was none of that when I moved away. I especially like French cinema. We had a "artsy" theater open here but the way it was funded (a front for a church) soured me on anything they could do to attract me. Aside from what I said previously, there is the "opportunity cost" in that time spent watching is time I can't spend doing.

 

[chuckroast]

That and numerous other behaviors. Perhaps we can compile them on the Pet Peeves thread.

It was not only that stuff that contributed to why I quit going to the movies decades ago but also the content. Like with television, I found myself bored with seeing the same stories recycled and rebooted over and over again, a complete lack of novelty. Better sound, better SFX, bigger named stars, just aren’t enough when the same stories are told over and over. I don’t have cable or streaming at home and don’t have a way to play DVDs or Blue Ray or whatever the current medium is. The flat screen TV my kid gave me makes a pretty good rack for hanging by various headphones. But I am glad that others find stuff that entertains them.

The truth is that the best story telling right now is on the streaming services. Netflix, Prime, et al for example, have produced a number of top tier programs. Because they can span many hours, there is room for story and character development much like a fine novel would do.

This isn't to say all such series are high quality. There is this terrible tendency among writers when they run out of ideas, to descend into soap opera-esque plot lines that involve sexual profligacy, surprises for the audience, and generally lowbrow story telling. The only thing missing are adverts for washing powder. Good series end at the right time and end well.

 

[koraks]

Aside from what I said previously, there is the "opportunity cost" in that time spent watching is time I can't spend doing.

True enough. We don't go to the movies very often, but watch one or two a week at home. For us, it's one of the activities we enjoy doing together - we also always evaluate the movies we've watched together the day after. I find this in particular enhances my enjoyment of the medium, since it makes me watch and reflect more consciously.

Had there been no art house theater near us, I would never go to the cinema. I never go to the regular ones; they're too noisy, bleary, flashy and overrun with loud and annoying people. I do value Netflix and a couple of other streaming services for their offering. We're also fortunate to live in a country where every major city has several art house cinemas, and minor cities have at least one. Some large villages even have art house cinema nights in general-purpose venues, but we stick to the 'real' art house cinemas.

The truth is that the best story telling right now is on the streaming services.

Our guilty pleasure at the moment is The Crown. There, I said it, openly.

 

[chuckroast]

Our guilty pleasure at the moment is The Crown. There, I said it, openly.

It's quite good and, I think, faithful to the times and the story.

 

[VinceInMT]

…Had there been no art house theater near us, I would never go to the cinema. I never go to the regular ones; they're too noisy, bleary, flashy and overrun with loud and annoying people.…

And, the commercials. The last time I went to a theater, and it had to be over 15 years ago, the film was supposed to start at something like 2:30pm. The “show” started at 2:30 but the film didn’t start until 2:50. 20 minutes of commercials. I read some time ago about some theater patrons suing a theater for false advertising for saying that the movie started at a certain time but didn’t due to the commercials. Commercials are one reason I quit TV so many years ago.

 

[Alan Edward Klein]

The truth is that the best story telling right now is on the streaming services. Netflix, Prime, et al for example, have produced a number of top tier programs. Because they can span many hours, there is room for story and character development much like a fine novel would do.

This isn't to say all such series are high quality. There is this terrible tendency among writers when they run out of ideas, to descend into soap opera-esque plot lines that involve sexual profligacy, surprises for the audience, and generally lowbrow story telling. The only thing missing are adverts for washing powder. Good series end at the right time and end well.

That's the problem. Netflix has their writers write with the hope the series will stay on the air for years. So it gets boring after a while as they start looking for new themes and repeating old ones. Then they suddenly cancel it because viewers stop watching and they never end the story leaving you high and dry. I;d rather watch a two-hour movie that ends and you can leave the theater satisfied with a beginning and end to it just in time when the popcorn runs out.