Petition to support 35mm movie projection

[David A. Goldfarb]

Ok, we all know the drill. Who knows how much good these things do, but showing strong support for 35mm release prints in movie theaters can't be a bad thing--

http://www.thepetitionsite.com/1/fight-for-35mm/

I'm #8257

Even better, go see a movie in a theater, ideally where they are projecting from 35mm or heck, even 70mm.

[tomalophicon]

I've signed.
The only cinema in my town is digital

[MDR]

David thanks for the info just signed the petition.

Dominik

[Ross Chambers]

I would call the petition "The King Canute Memorial Cinema Hopefuls (or Romantics)"

C'mon folks, just a few points from a Canadian newspaper:

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Digital movies are typically delivered on a hard drive that can be held in the hand. Or in some cases, the signal can be beamed in by satellite. That means no heavy 35-mm film canisters or movie projectionists to thread spools.

The economics are even more compelling for studios to encourage exhibitors to switch over. One 35-mm print could cost $1,000 versus $200 for a digital hard drive. Multiply that by 10,000 screens for a wide release film and the difference in distribution costs are staggering.

“If you want to continue playing relatively contemporary movies, then you need digital. That’s the way the market is going,” says Demois. The theatre usually shows movies four to five weeks after the first run. Currently it’s showing My Week With Marilyn and Margin Call.

“We’re coming to the tipping point where prints won’t be available,” says Rui Pereira, general manager of the Kingsway Theatre in the city’s west end.

BUT ALSO:

While celluloid used trained projectionists, who are now something of an endangered species, digital equipment was supposed to be easier. But not always.

The hard drives are always encrypted, and many times — Peel estimates at least 10 per cent of the time — the encryption doesn’t work, or the drive may be damaged.

“You end up with delays, you have to call the distributor, try and get a new code. They’re still working out the bugs.”

Peel says he has both 35-mm and digital capability. But he doesn’t have a preference for either.

“The world has spoken. The world is going digital,” says Peel. “We are dealing with a huge transition.”

With the push to digital, Peel says there has been equal pushback from some fans who are used to 35-mm film.

“Film has its own look and it’s been around for more than 100 years,” says Peel. “But there’s no reason we can’t celebrate both.”

Theatre manager Demois agrees. “Film certainly looks different. It has nicks and scratches, and it erodes over time. But there is a romance to it,” says Demois. “Digital actually looks too clear for some people. It’s the same reason some people like the sound of old vacuum tube stereos as opposed to digital equipment. But they both have their advantages and disadvantages.”

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I believe that the real concern is that Kodak and Fuji will stop making the various motion picture stocks that have probably been supporting our photographic supplies.

[Lionel1972]

I'm #8276!

[munz6869]

I have a two year old Kinoton FP38E (dual format 16/35mm) in my workplace - of course I'm signing this :-)

Marc!

[brianmquinn]

Another signature added. Sadly I don't feel it will make much difference. At least my local IMAX is still film. I should make a it new year resolution to see all of the shows there to support movie film sales.

[Steve Smith]

I have already posted this, nut here it is again:





Steve.

[David A. Goldfarb]

Having to deal with DCP projection occasionally for work, these hard drive errors seem quite prevalent, and when they happen during a screening, they typically can't be resolved, and all the theater can do is refund tickets and hand out free popcorn.

[Steve Smith]

these hard drive errors seem quite prevalent, and when they happen during a screening, they typically can't be resolved

Not quite as easy as splicing a broken film back together then.


Steve.