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35mm projection in Los Angeles and New York--Two more theaters

Ted Langdell
 

Not sure whom your target audience is...

¬†(Or why I forgot these two facilities ūü§Ē)

If your target is industry professionals in Los Angeles, the Academy of Motion Picture Arts and Sciences has two facilities:

The Linwood Dunn Theater at the Pickford Center, site of many SMPTE meetings and the annual LA edition of the AMIA (Association of Moving Image Archivists) "ReelThing",

And the Samuel Goldwyn Theater, which is hosting Oscar screenings this month. 


Your presentation might make a good element of either a SMPTE meeting in either city:


or The ReelThing. 

I've attended both at the Linwood Dunn. Great space!

AMIA's offices are in the Pickford Center, which also houses the Academy Film Archive. https://amianet.org/

Hope this helps! ¬†Good luck!ūüćĬ†

Ted

Ted Langdell
(530)301-2931

Dictated into and Sent from my iPhone, which is solely responsible for any weird stuff I didn't catch.

On Feb 8, 2018, at 2:14 PM, dhisur@... wrote:

Thank you Bengt F.   "Halogenuros" is part of a technical research project about Super-8 and 2K Digital Intermediate. The research received initial funding from FONDART, a cultural fund from Education Ministry of Chile in 2004.   As you mention, we were able to use for some sequences, the Pro8/01 stock back as early as November 2005, just few weeks after Kodak released the Vision2 50D (5201) stock.   The camera was an ex-Beaulieu 4008 ZM II upgraded by Pro8mm in Burbank, and called "Pro8mm Classic".  A PL to C Mount adapter was used and the best Super 35 lens we could use at the time was Carl Zeiss Ultra Prime on one sequence (the second sequence of the dancer, with blue screen).  We also used on one sequence the Schneider Optivaron 1.8/6-66mm.   The blue screen work was done using Rosco Digicomp blue fabric.
The footage was all shot in Chile, and then was mainly developed in Megacolor, Sao Paulo and Gama S.A.I in Santiago de Chile. The footage was then scanned at Park Road Post, in New Zealand via a Spirit Datacine to 2K DPX RGB 10-bit Log. The 2K DI uncompressed post-production was done in Chile with a Quantel eQ (QColor) system and the film-out to 35mm was done at Weta Digital, NZ, via an Arri Laser to Kodak 2242 intermediate and then printed to Kodak Vision 2383 print.¬† I am grateful of all the support from great people like Jony Sugo (Megacolor), Maria Mayor (Gama), Jon Newell (PRP), Pete Williams (Weta), Phil Vigeant (Pro8mm), the crew (Gaffer Francisco Urz√ļa, 1AC Cristi√°n Gonz√°lez S) and more, that made this project possible.

I have attached a frame, that shows Super-8 Vision2 100T with a Carl Zeiss lens (intended for Contax)

I am now preparing sort of a sequel, updating the results to new stocks, optics and digital film post-production, but the target is the same: a 35mm print.
I have been testing recently, CW Sonderoptic Thalia, Master Prime, and Cooke S4/i.  I plan to shoot the second part within few months, hopefully.

Best regards,
Daniel Henríquez Ilic
Filmmaker
Fotoquímica Films SpA
S A N T i A G O de C H i L E

<Halogenuros_frame_Super8_Vision2_100T00087348.tif>

Daniel Henríquez-Ilic
 

Thank you very much Ted Langdell, that's great information too. 
Once the projections are scheduled (March or April), I will post the invitation in CML-Film to anyone interested.
Many thanks for all the recommendations.

Best regards,
Daniel Henríquez Ilic
Filmmaker
Fotoquímica Films SpA
S A N T i A G O de C H i L E