"Club Penton" - Ask questions to Hollywood insider "Penton-Man"

[Robert Harris]

Originally Posted by Penton-Man

I received several P.M.’s from RedOne cinematographers asking if Gordon Willis really relayed the above information to me in the past several days.

Yes, he really, really

And confirmed for the record.

RAH

[Penton-Man]

Originally Posted by saprano

Penton have you heard anything about if "catch me if you can" is coming to blu?

Sorry, I haven’t heard anything about that title.
I would presume that they are in no rush to get it out on Blu-ray since DiCaprio is such a busy working actor, they can always dovetail it with some future theatrical presentation, so there will be no missed opportunity in terms of visibility.

[Penton-Man]

Originally Posted by Rob Tomlin

And I’ll bet he failed to mention that they used duct tape on all the splice bumps………and that was the good stuff, i.e. industrial grade.

[Penton-Man]

Originally Posted by bluskies

What's his screenname here?

“Jeff Kleist”

I think it is planned that he do a coverage story in Dec. on BD adoption in Japan and submit it here on Blu-ray.com as an exclusive……..if he can stay away from the geisha girls.

Jeff, if you’re reading this, I would like to see a Rob Tomlin type of report (extensive and complete, i.e.- like he did for Once Upon a Time in the West), not a skimpy write-up with no heart.

And tell Sarah to tell Bill to get his arse off the treadmill and back onto his Insider’s Thread to answer some questions…………..he promised.

[Penton-Man]

Speaking of excellent reports/reviews, I just read this review which deserves mentioning……………………

https://www.blu-ray.com/movies/movie...52&show=review

[Penton-Man]

Originally Posted by Robert Harris

And confirmed for the record.

RAH

[Penton-Man]

HOLLYWOOD SECTION MEETING
THURSDAY, SEPTEMBER 25, 2008
Linwood Dunn Theater - 1313 N. Vine Street - Hollywood
Pre-show get together at 6:30pm
Presentation at 7:30pm

So that we can properly anticipate attendance, if you plan to come please send an e-mail to hsmpte@hsmpte.org. Let us know how many will be in your party.
At last September’s Hollywood section SMPTE meeting, in front of a good interactive group, we discussed part one of David Fincher’s “The Curious Case of Benjamin Button” acquisition workflow and some of the differences learned from Zodiac and updated on Benjamin Button.

For the September 25th meeting we will once again bring together a group of the Buttons workflow team to discuss part two of the project, including the showing of clips from the movie which is due for release on December 25th.

The presentation will open with a clip from the 1938 Technicolor feature The Goldwyn Follies, using a new print made from the 70 year old 3-strip camera negatives.
The schedule includes, once again, Peter Mavromates, Steve Roach, Angus Wall and with Mark Chiolis moderating the discussion. Also planning to join the panel will be cinematographer Claudio Miranda and VFX Specialist Craig Barron.

Pre-show reception sponsored by Warner Bros. Motion Picture Imaging

^
B.T.W.
Jan
(https://forum.blu-ray.com/showthread...69#post1162969)

As well as Pat C. from Lowry Digital plan on attending.

[dialog_gvf]

Originally Posted by Penton-Man

And I’ll bet he failed to mention that they used duct tape on all the splice bumps………and that was the good stuff, i.e. industrial grade.

Red Green would be proud

[Penton-Man]

Originally Posted by dialog_gvf

Of course. How silly of us.

Remember folks, that new fixed disc you receive is a figment of your imagination.

Gary

I just tipped my toe in the water over there, for the first time in months.
Do you think it was a mistake?

http://www.avsforum.com/avs-vb/showt...1#post14739516

[aramis109]

Originally Posted by Penton-Man

I just tipped my toe in the water over there, for the first time in months.
Do you think it was a mistake?

http://www.avsforum.com/avs-vb/showt...1#post14739516

Oooh I smell some pwnage coming...

[Uxi]

This should be most entertaining.

[mhafner]

Originally Posted by Penton-Man

Regardless, no, I do not buy into your notion that the vast majority of *scientists* who contribute to that thread are “film lovers”.

Neither do I. The list is simply about some specific information (as factual as we can possibly compile it) that is neither specifically for film lovers or non film lovers. Plus subjective comments that can be ignored if one disagrees. Some film lovers are (film) technically naive and some are not. To some such information matters and to the rest it does not. For the ones to which it matters the list is useful. To the others probably not. That's all. Incorrect infomation has no place on the list. Errors are fixed. What more could you ask for?
Stupid points will always be made in lots of threads.

[HeavyHitter]

Originally Posted by Penton-Man

I just tipped my toe in the water over there, for the first time in months.
Do you think it was a mistake?

http://www.avsforum.com/avs-vb/showt...1#post14739516

Some of those people in that thread just cannot be helped.

I really got a laugh of the new, self-proclaimed film expert in that thread and his calling Godfather BD "technically flawed."

[dialog_gvf]

Originally Posted by Penton-Man

I just tipped my toe in the water over there, for the first time in months.
Do you think it was a mistake?

http://www.avsforum.com/avs-vb/showt...1#post14739516

What I'm the most curious about is why the hatred seems to spew so intensely with FFC film restorations?

Gary

Edit: Just watched The Godfather. It is a TRIUMPH. But, one little thing:

With all that work that went into restoring the visuals, nobody could stick a microphone in front of Alex Rocco and have him say "I talked to Barzini"?

[Penton-Man]

Originally Posted by Uxi

This should be most entertaining.

Until the *scientist* can post a pic of his workstation (with a sign above a monitor saying “history2b”), - which would be very simple to do, as apparently he has a lot of time on his hands – I highly, highly doubt that he is truly a colorist.

At the most, the very most, he might be a tech that sets up a machine for doing ‘one lights’ all day long, if indeed he even knows what I’m talking about without googling the word.

There are a handful of working colorists in the LA area and they are a tight-knit group.

[Penton-Man]

Originally Posted by mhafner

Neither do I. The list is simply about some specific information (as factual as we can possibly compile it) that is neither specifically for film lovers or non film lovers........

You got that ^ part right as I'll refer you to the following statement you made on your *scientific* thread..........................

Originally Posted by mhafner

How bad is the DNR on Aviator? On the 35mm print it was dreadful.

check out what organization nominated it for Best Cinematography....
http://www.moviefone.com/movie/the-aviator/17564/awards

(Anecdotal information is that most D.P.'s believe it just barely lost out to the eventual winner.)

[Robert Harris]

Originally Posted by Penton-Man

I just tipped my toe in the water over there, for the first time in months.
Do you think it was a mistake?

Huge!

[HeavyHitter]

Originally Posted by Robert Harris

Huge!

Better be careful, Robert. "history2b" claims to know more on the subject of color grading than yourself.

[Robert Harris]

Originally Posted by HeavyHitter

Better be careful, Robert. "history2b" claims to know more on the subject of color grading than yourself.

I've been working with b & w, and then color since I was a kid, know my way around a darkroom and color printing on the analogue side, have worked with some of the top timers at labs in LA and NY for about 30 years or so, and have had the good fortune to be able to work side by side with the likes Jan Yarbrough and Maria Palazzola, with whom I constantly learn and share information.

The move to digital really began for us, in terms of film restoration, in 1994 when we used some early hardware and software as tools toward helpful us fix problems with My Fair Lady. In the intervening years, our controls have gotten better, our tools stronger and the for education greater, as while the digital domain can be extremely helpful and positive, in the wrong hands it can also be incredibly destructive.

You need to have the right people behind those controls. Watching Jan at the controls of his Baselight system is akin to watching a performance by a great concert pianist.

I could not do what Jan does, but I do know where I want the image to go, and Jan knows precisely how to get us there. We speak the same language.

RAH

[Rob Tomlin]

Originally Posted by Robert Harris

I've been working with b & w, and then color since I was a kid, know my way around a darkroom and color printing on the analogue side, have worked with some of the top timers at labs in LA and NY for about 30 years or so, and have had the good fortune to be able to work side by side with the likes Jan Yarbrough and Maria Palazzola, from whom I constantly learn and share information.

The move to digital really began for us, in terms of film restoration, in 1994 when we used some early hardware and software as tools toward helpful us fix problems with My Fair Lady. In the intervening years, our controls have gotten better, our tools stronger and the for education greater, as while the digital domain can be extremely helpful and positive, in the wrong hands it can also be incredibly destructive.

You need to have the right people behind those controls. Watching Jan at the controls of his Baselight system is akin to watching a performance by a great concert pianist.

I could not do what Jan does, but I do know where I want the image to go, and Jan knows precisely how to get us there. We speak the same language.

RAH

..