It was married with sound so it could have been a final show print, but there were a few problems. Mitch Mitchell at Cinesite stepped in and did a splendid job (pictured in the front row here, with me on the next, senior grader John Claude third, and finally at the back, projectionist James Breen). But to get the film out to the ‘world film festival circuit’, we needed a 35mm print. My blog posts have been sketchy recently as I am moving home, and I am just about to deal with an attic full of 35mm film stock I have from three previous features films! Blimey!Ĭhris Jones, Film Maker and have just returned from the very first 35mm screening of Gone Fishing – EVER! Even though we shot 35mm, we scanned and post produced digitally, and even premiered digitally. I am looking forward to seeing what it looks like. This means that we can now go ahead and get the final show prints made up for Cannes, hopefully on Kodak Premiere film stock, which should increase colour saturation and black densities. Plenty of oomph when it mattered the most. While the Dolby Digital is heavily compressed, it sounds much better than the analogue tracks, and I was pleasantly surprised at just how good it did in fact sound. The 35mm print we have carries sound in two formats, Dolby (which is an analogue system) and Dolby Digital which encodes the sound as binary digits. Of course a problem we face here is that to check a 35mm print, you need a 35mm projector, and a sound system that can cope with a full cinema mix. After checking today, I can now confirm that there are in fact no problems at all. We had previously screened at Cinesite (for picture) where we thought the sound may have been out of sync. Today I took the 35mm print of Gone Fishing to Videosonics for the guys who did the sound mix to check out.
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