1 00:00:00,000 --> 00:00:03,919 There's a misconception that movies shot 2 00:00:02,480 --> 00:00:06,640 with digital cameras [music] and those 3 00:00:03,919 --> 00:00:08,515 shot with film cameras work in contrast 4 00:00:06,639 --> 00:00:10,000 with one another. That one process 5 00:00:08,515 --> 00:00:12,720 [music] negates the other. Like you're a 6 00:00:10,000 --> 00:00:14,519 film person or a digital person. But a 7 00:00:12,720 --> 00:00:16,960 movie shot digitally [music] can be 8 00:00:14,519 --> 00:00:18,920 printed and projected on film. And a 9 00:00:16,960 --> 00:00:20,304 movie shot on film will very likely at 10 00:00:18,920 --> 00:00:21,080 some point go through a scanning process 11 00:00:20,304 --> 00:00:22,600 [music] 12 00:00:21,079 --> 00:00:25,359 for at least digital effects and 13 00:00:22,600 --> 00:00:27,640 editing. And with IMAX, both ends of 14 00:00:25,359 --> 00:00:30,719 that equation, the scanning and the 15 00:00:27,640 --> 00:00:33,399 recording of large format 70 mm film 16 00:00:30,719 --> 00:00:34,079 require purpose-built equipment and an 17 00:00:33,399 --> 00:00:36,679 experienced [music] 18 00:00:34,079 --> 00:00:38,719 technician to operate those machines. I 19 00:00:36,679 --> 00:00:39,960 visited the 70 mm film scanning and 20 00:00:38,719 --> 00:00:42,159 recording labs [music] at IMAX 21 00:00:39,960 --> 00:00:44,600 headquarters to watch these machines in 22 00:00:42,159 --> 00:00:46,504 action, including one of the most 23 00:00:44,600 --> 00:00:48,399 beautiful bespoke machines I've ever 24 00:00:46,505 --> 00:00:52,600 [music] seen, this film scanner that has 25 00:00:48,399 --> 00:00:55,280 scanned almost every single IMAX film. 26 00:00:52,600 --> 00:00:57,880 Hey, Fred. Hello. Such a pleasure. 27 00:00:55,280 --> 00:01:00,399 Likewise, thank you. Um okay, so this is 28 00:00:57,880 --> 00:01:02,840 the old scanner, and that's the new 29 00:01:00,399 --> 00:01:04,359 scanner. I have so many questions about 30 00:01:02,840 --> 00:01:06,040 this, but I want to just start with like 31 00:01:04,359 --> 00:01:07,519 how long have you been working for IMAX? 32 00:01:06,040 --> 00:01:08,520 I've been working for IMAX I'm in my 33 00:01:07,519 --> 00:01:10,159 15th year now. 34 00:01:08,519 --> 00:01:11,319 >> 15th year? Have you been scanning for 35 00:01:10,159 --> 00:01:13,479 them the entire time? 36 00:01:11,319 --> 00:01:15,799 >> Scanning and film recording. Amazing. 37 00:01:13,480 --> 00:01:17,400 >> So, if you have a piece of IMAX film and 38 00:01:15,799 --> 00:01:17,679 it needs to be a digital image, that's 39 00:01:17,400 --> 00:01:19,600 me. 40 00:01:17,680 --> 00:01:21,400 >> That's you. And if it's a digital image 41 00:01:19,599 --> 00:01:22,159 and you need a piece of IMAX film, 42 00:01:21,400 --> 00:01:24,320 that's also me. 43 00:01:22,159 --> 00:01:26,200 >> Amazing. Okay, so I I we're going to 44 00:01:24,319 --> 00:01:27,879 talk about the process 45 00:01:26,200 --> 00:01:31,640 uh that film goes through in your room 46 00:01:27,879 --> 00:01:33,679 here. But I right off the bat, I walk in 47 00:01:31,640 --> 00:01:36,599 and I see a machine with a marble 48 00:01:33,680 --> 00:01:38,600 countertop and these space-saving holes 49 00:01:36,599 --> 00:01:41,319 and chrome polish, and then I touch it 50 00:01:38,599 --> 00:01:43,199 and I'm like, wait a minute. Cuz cuz 51 00:01:41,319 --> 00:01:44,959 Greg said outside that this was one of 52 00:01:43,200 --> 00:01:45,439 This is serial number one of this 53 00:01:44,959 --> 00:01:47,839 machine. 54 00:01:45,439 --> 00:01:49,200 >> This is number one. This is the only 65 55 00:01:47,840 --> 00:01:51,040 mm 56 00:01:49,200 --> 00:01:52,560 scanner that that this company built. 57 00:01:51,040 --> 00:01:55,120 Well, dude, whoever made this 58 00:01:52,560 --> 00:01:56,920 >> 35 mm scanners afterwards, and they made 59 00:01:55,120 --> 00:01:58,560 like, I don't know, pile of them. But 60 00:01:56,920 --> 00:02:00,239 this is the only one for 65. 61 00:01:58,560 --> 00:02:03,480 >> Okay, but whoever made this is an 62 00:02:00,239 --> 00:02:05,199 important artist. Yes. Okay, you agree. 63 00:02:03,480 --> 00:02:06,320 This is a masterpiece. 64 00:02:05,200 --> 00:02:08,240 >> Yes. Yes, sir. 65 00:02:06,319 --> 00:02:09,840 >> Oh my gosh. And then when you were 66 00:02:08,240 --> 00:02:11,680 calibrating, I watched this whole thing 67 00:02:09,840 --> 00:02:14,680 move or there's all these servos inside 68 00:02:11,680 --> 00:02:16,200 here. Yep, motors and belts and you 69 00:02:14,680 --> 00:02:18,360 can't lift the hood because it's 70 00:02:16,199 --> 00:02:19,919 granite. And it's made granite so that 71 00:02:18,360 --> 00:02:21,560 it's super stable so that it's 72 00:02:19,919 --> 00:02:24,839 measurements are the same. OH MY GOD, 73 00:02:21,560 --> 00:02:26,159 IT'S NOT even just aesthetic. It Yes. 74 00:02:24,840 --> 00:02:29,120 It is 75 00:02:26,159 --> 00:02:31,280 temperature. Uh because a few degrees in 76 00:02:29,120 --> 00:02:33,159 temperature can change you know, metal 77 00:02:31,280 --> 00:02:34,759 will change a little bit and that'll 78 00:02:33,159 --> 00:02:37,079 throw this whole thing out of alignment. 79 00:02:34,759 --> 00:02:40,479 So they built it on granite, polished 80 00:02:37,080 --> 00:02:42,520 granite. Because you're scanning pixels 81 00:02:40,479 --> 00:02:45,399 and you can't have any variance 82 00:02:42,520 --> 00:02:45,840 whatsoever. We are scanning a frame this 83 00:02:45,400 --> 00:02:47,240 big. 84 00:02:45,840 --> 00:02:48,920 >> Yeah. 85 00:02:47,240 --> 00:02:51,439 And how many pixels is that total? 86 00:02:48,919 --> 00:02:52,519 >> And we are scanning it at a over 8,000 87 00:02:51,439 --> 00:02:53,639 pixels across. 88 00:02:52,520 --> 00:02:55,719 >> Crazy. 89 00:02:53,639 --> 00:02:57,919 The way this machine was set up is it 90 00:02:55,719 --> 00:02:58,879 only does a vertical line of pixels at a 91 00:02:57,919 --> 00:03:02,439 time. Okay. 92 00:02:58,879 --> 00:03:05,479 >> So it's slicing the image 8,424 93 00:03:02,439 --> 00:03:06,639 times per image. That must 94 00:03:05,479 --> 00:03:08,119 That must take a while. 95 00:03:06,639 --> 00:03:10,359 >> put 12 and 1/2 seconds. 96 00:03:08,120 --> 00:03:13,480 >> 12 and 1/2 seconds per frame? 97 00:03:10,360 --> 00:03:15,440 >> Per frame. So every IMAX that's ever 98 00:03:13,479 --> 00:03:17,959 been scanned went through this scanner 99 00:03:15,439 --> 00:03:20,599 until Until VERY RECENTLY. YES. 100 00:03:17,960 --> 00:03:22,640 >> WOW. THAT IS A 101 00:03:20,599 --> 00:03:25,879 That you kind of have to work backwards 102 00:03:22,639 --> 00:03:27,039 from deadlines and deliveries just to 103 00:03:25,879 --> 00:03:28,039 ACCOMMODATE THIS. 104 00:03:27,039 --> 00:03:29,079 >> YES. 105 00:03:28,039 --> 00:03:32,039 WOW. 106 00:03:29,080 --> 00:03:34,280 >> YEAH. Is this machine was semi-retired 107 00:03:32,039 --> 00:03:35,496 at this point? Is it emeritus? I'm 108 00:03:34,280 --> 00:03:35,960 sorry, it is very 109 00:03:35,497 --> 00:03:38,800 >> [laughter] 110 00:03:35,960 --> 00:03:40,800 >> very much semi-retired. I do test it, 111 00:03:38,800 --> 00:03:42,360 you know, weekly to make sure that it's 112 00:03:40,800 --> 00:03:42,920 still running because this is our 113 00:03:42,360 --> 00:03:45,800 backup. 114 00:03:42,919 --> 00:03:48,000 >> Right. If this goes out, this This is 115 00:03:45,800 --> 00:03:49,320 it. Now, the nice thing is we haven't 116 00:03:48,000 --> 00:03:53,360 had to use it. Right. 117 00:03:49,319 --> 00:03:55,319 >> This has only seen me testing it for 118 00:03:53,360 --> 00:03:58,080 a year now. Or a year? All right. 119 00:03:55,319 --> 00:03:58,919 >> So it's not actually been in production. 120 00:03:58,080 --> 00:04:01,719 It's such a 121 00:03:58,919 --> 00:04:04,319 >> is capable of being being that 25 years 122 00:04:01,719 --> 00:04:06,199 after it was made. For a machine. I 123 00:04:04,319 --> 00:04:07,959 mean, there's a way in which I can tell 124 00:04:06,199 --> 00:04:10,919 that the people that put this together 125 00:04:07,960 --> 00:04:11,320 love machines and also love products. 126 00:04:10,919 --> 00:04:13,319 Yes. 127 00:04:11,319 --> 00:04:16,399 >> Like they weren't just making a one-off, 128 00:04:13,319 --> 00:04:18,879 they were making it a beautiful product. 129 00:04:16,399 --> 00:04:21,919 >> Yes. This is inspired by I feel like 130 00:04:18,879 --> 00:04:24,120 German manufacturing from mid-century, 131 00:04:21,920 --> 00:04:27,080 from Scandinavian. I mean, it's like 132 00:04:24,120 --> 00:04:28,552 there's so much. Wow. Yeah. Okay, now 133 00:04:27,079 --> 00:04:29,439 let's talk ABOUT THIS PROCESS. 134 00:04:28,552 --> 00:04:31,480 >> [laughter] 135 00:04:29,439 --> 00:04:33,680 >> LET ME PUT A PIECE OF FILM ON. OKAY, NO 136 00:04:31,480 --> 00:04:36,360 MIND. SO, 137 00:04:33,680 --> 00:04:39,000 take a piece of film and we thread it 138 00:04:36,360 --> 00:04:40,720 up, starting this side. 139 00:04:39,000 --> 00:04:41,680 It starts Make sure it doesn't want to 140 00:04:40,720 --> 00:04:44,120 walk away on us. 141 00:04:41,680 --> 00:04:44,120 >> Fair. 142 00:04:46,319 --> 00:04:50,639 Make sure we take a few up, a few rolls 143 00:04:48,600 --> 00:04:52,280 laps up on the on the roll. 144 00:04:50,639 --> 00:04:54,000 And then 145 00:04:52,279 --> 00:04:56,239 I like to pull a little bit extra and 146 00:04:54,000 --> 00:04:58,920 thread it through here. So threading up 147 00:04:56,240 --> 00:05:01,840 the gate first so that it sets correctly 148 00:04:58,920 --> 00:05:04,160 and then with the sprockets, 149 00:05:01,839 --> 00:05:05,639 make sure it locks in place. 150 00:05:04,160 --> 00:05:08,040 So I just want to highlight here for a 151 00:05:05,639 --> 00:05:11,240 second like, you know, film is all about 152 00:05:08,040 --> 00:05:11,760 the fast shuttling and with precision. 153 00:05:11,240 --> 00:05:13,800 Yes. 154 00:05:11,759 --> 00:05:16,360 >> That's got to be an exponentially harder 155 00:05:13,800 --> 00:05:19,199 problem at this size and scale, 156 00:05:16,360 --> 00:05:20,800 especially for tiny variances of 157 00:05:19,199 --> 00:05:22,879 sprockets, which I would imagine you 158 00:05:20,800 --> 00:05:23,680 guys have reduced as close to zero as is 159 00:05:22,879 --> 00:05:24,959 humanly possible. 160 00:05:23,680 --> 00:05:28,120 >> Exactly. And that's why you may notice 161 00:05:24,959 --> 00:05:30,000 the film path is very precisely defined. 162 00:05:28,120 --> 00:05:32,800 I'm not making loops. I'm not making 163 00:05:30,000 --> 00:05:34,920 approximately the right size. I'm going 164 00:05:32,800 --> 00:05:36,759 it fits right here, it fits right here, 165 00:05:34,920 --> 00:05:38,600 and everything lines up exactly. 166 00:05:36,759 --> 00:05:39,920 >> So this machine knows what to expect 167 00:05:38,600 --> 00:05:41,439 when this piece of film is through that 168 00:05:39,920 --> 00:05:43,240 sprocket hole and when it's going to get 169 00:05:41,439 --> 00:05:44,959 over here and it's never wrong. 170 00:05:43,240 --> 00:05:46,560 >> And it's never wrong. 171 00:05:44,959 --> 00:05:46,919 So, 172 00:05:46,560 --> 00:05:48,199 then 173 00:05:46,920 --> 00:05:48,720 >> Oh, and now it goes through all these 174 00:05:48,199 --> 00:05:51,680 things. 175 00:05:48,720 --> 00:05:54,440 >> all all these things. So, 176 00:05:51,680 --> 00:05:56,560 there is, I believe, a an edge code 177 00:05:54,439 --> 00:05:59,560 because film comes with uh from Kodak 178 00:05:56,560 --> 00:06:00,879 comes with a an edge code printed right 179 00:05:59,560 --> 00:06:02,519 into the film. Oh, okay. 180 00:06:00,879 --> 00:06:04,639 >> It's a latent image until obviously they 181 00:06:02,519 --> 00:06:07,439 process the film. Unfortunately, this 182 00:06:04,639 --> 00:06:09,079 one does not work, never has. So, it's 183 00:06:07,439 --> 00:06:10,680 there. It was there with the idea of 184 00:06:09,079 --> 00:06:11,079 making it work, but it never did. 185 00:06:10,680 --> 00:06:13,240 >> Copy. 186 00:06:11,079 --> 00:06:15,680 >> So we go around there. These two 187 00:06:13,240 --> 00:06:17,480 basically are controlling the tension. 188 00:06:15,680 --> 00:06:17,920 How much tension do do we take up? 189 00:06:17,480 --> 00:06:20,160 >> I see. 190 00:06:17,920 --> 00:06:21,319 >> And And watch when I spin it up, see how 191 00:06:20,160 --> 00:06:23,240 that Mhm. 192 00:06:21,319 --> 00:06:25,279 >> And it'll find a balance. And as the 193 00:06:23,240 --> 00:06:26,639 film is transported, it'll make sure 194 00:06:25,279 --> 00:06:28,799 that this thing's pulling at the right 195 00:06:26,639 --> 00:06:29,519 amount, even if the roll's really big or 196 00:06:28,800 --> 00:06:31,240 really small. 197 00:06:29,519 --> 00:06:33,599 >> So that it's never winding it too tight 198 00:06:31,240 --> 00:06:35,639 or too loose, it's always at a specific 199 00:06:33,600 --> 00:06:39,080 >> Oh, exactly. Wow, of course it has to 200 00:06:35,639 --> 00:06:40,479 be. Because too loose and your film goes 201 00:06:39,079 --> 00:06:43,319 on the ground. 202 00:06:40,480 --> 00:06:44,600 Too tight and you risk snapping the film 203 00:06:43,319 --> 00:06:46,920 or 204 00:06:44,600 --> 00:06:48,600 pulling the film past the the sprockets 205 00:06:46,920 --> 00:06:51,240 and creating problems that way. 206 00:06:48,600 --> 00:06:53,640 >> I cuz if film is surprisingly brittle. 207 00:06:51,240 --> 00:06:56,319 Yes. I remember as a projectionist, I 208 00:06:53,639 --> 00:06:58,360 remember having one smacking around and 209 00:06:56,319 --> 00:07:00,514 creating a lot of celluloid confetti. 210 00:06:58,360 --> 00:07:00,960 Yes. 211 00:07:00,514 --> 00:07:02,800 >> [laughter] 212 00:07:00,959 --> 00:07:04,639 >> When we get into film recording, I'll 213 00:07:02,800 --> 00:07:05,240 tell you about chewed-up film. 214 00:07:04,639 --> 00:07:06,959 >> Okay. 215 00:07:05,240 --> 00:07:09,439 >> Cuz those machines like to chew film 216 00:07:06,959 --> 00:07:10,599 occasionally. So do you only do tension 217 00:07:09,439 --> 00:07:12,199 on the take-up side? 218 00:07:10,600 --> 00:07:14,360 >> let me do this side as well. It's the 219 00:07:12,199 --> 00:07:15,279 same thing just in reverse. 220 00:07:14,360 --> 00:07:18,560 Or this. 221 00:07:15,279 --> 00:07:20,679 Go around this way. This way and then 222 00:07:18,560 --> 00:07:22,160 pull tight. 223 00:07:20,680 --> 00:07:23,920 And that lets it find its level. 224 00:07:22,160 --> 00:07:25,200 >> gate closes when I DO THAT. 225 00:07:23,920 --> 00:07:26,800 >> OH, WOW. 226 00:07:25,199 --> 00:07:28,599 >> It automatically knows, oh, I got 227 00:07:26,800 --> 00:07:30,120 tension on both sides. That means I can 228 00:07:28,600 --> 00:07:32,680 try to close the gate. That's some 229 00:07:30,120 --> 00:07:35,399 really nice user experience right there. 230 00:07:32,680 --> 00:07:38,480 >> When the gate tries to close, if it 231 00:07:35,399 --> 00:07:38,919 can't pin that one Yep. and that one 232 00:07:38,480 --> 00:07:40,759 >> Yep. 233 00:07:38,920 --> 00:07:42,879 >> Those pins actually go through the film 234 00:07:40,759 --> 00:07:45,599 from the other side to hold it in 235 00:07:42,879 --> 00:07:47,040 position. Yep. If they go if if 236 00:07:45,600 --> 00:07:48,840 everything's not lined up correctly, 237 00:07:47,040 --> 00:07:50,240 they will try to pin through the film. 238 00:07:48,839 --> 00:07:50,479 Very gently, they'll do it and they'll 239 00:07:50,240 --> 00:07:51,519 stop. 240 00:07:50,480 --> 00:07:53,000 >> won't poke through it. 241 00:07:51,519 --> 00:07:54,680 >> And they'll go, nope, there's something 242 00:07:53,000 --> 00:07:56,480 there. Nope, you know what? Forget it, 243 00:07:54,680 --> 00:07:58,199 I'm not doing this. So it's not going to 244 00:07:56,480 --> 00:07:58,600 punch a hole in your film. That's 245 00:07:58,199 --> 00:08:00,519 beautiful. 246 00:07:58,600 --> 00:08:03,400 >> 25 years ago, 247 00:08:00,519 --> 00:08:05,120 somebody made this brilliant decision 248 00:08:03,399 --> 00:08:06,560 that has saved so many rolls of film. 249 00:08:05,120 --> 00:08:08,639 >> If any of the people that worked on this 250 00:08:06,560 --> 00:08:10,319 is watching this video, reach out to us 251 00:08:08,639 --> 00:08:12,000 in the comments cuz I want to talk to 252 00:08:10,319 --> 00:08:14,519 you about this thing. Do you even This 253 00:08:12,000 --> 00:08:15,240 this beautiful. These these circles and 254 00:08:14,519 --> 00:08:17,639 lights here. 255 00:08:15,240 --> 00:08:19,680 >> It's almost a face. It Oh, there there 256 00:08:17,639 --> 00:08:20,639 is. It's almost a little like a droid. 257 00:08:19,680 --> 00:08:22,879 Yeah. 258 00:08:20,639 --> 00:08:24,399 Okay, so now the film is loaded up. So 259 00:08:22,879 --> 00:08:26,639 once it's loaded up, I try to make sure 260 00:08:24,399 --> 00:08:28,039 I I will advance a frame, a couple 261 00:08:26,639 --> 00:08:31,439 frames just to make sure that it is 262 00:08:28,040 --> 00:08:32,038 actually going to transport correctly. 263 00:08:31,439 --> 00:08:33,080 Like that. 264 00:08:32,038 --> 00:08:35,158 >> So that was one frame. 265 00:08:33,080 --> 00:08:37,719 >> Those This is one frame. 266 00:08:35,158 --> 00:08:40,599 Gotcha. That's moving 15 perfs. 267 00:08:37,719 --> 00:08:42,680 >> It's moving 15 perfs at a go. Okay. And 268 00:08:40,599 --> 00:08:44,158 as you can see, very smoothly. Yep. Yep, 269 00:08:42,679 --> 00:08:45,439 through custom etched and machine 270 00:08:44,158 --> 00:08:47,319 buttons that didn't get bought in a 271 00:08:45,440 --> 00:08:47,936 catalog. Right? 272 00:08:47,320 --> 00:08:48,640 Yes. 273 00:08:47,936 --> 00:08:50,320 >> [laughter] 274 00:08:48,639 --> 00:08:52,080 >> Then I'll wind down to the beginning of 275 00:08:50,320 --> 00:08:53,960 the roll because this is leader for 276 00:08:52,080 --> 00:08:57,000 handling purposes. That way I don't have 277 00:08:53,960 --> 00:08:58,400 to handle people's film. 278 00:08:57,000 --> 00:08:59,480 And if we look through here, 279 00:08:58,399 --> 00:09:01,759 >> Oh, yeah, see the color test. 280 00:08:59,480 --> 00:09:05,639 >> see the We can see the picture and I can 281 00:09:01,759 --> 00:09:05,639 actually make adjustments to 282 00:09:06,440 --> 00:09:12,280 Oh, I can go one perf at a time so that 283 00:09:09,360 --> 00:09:13,120 I'm in frame. Gotcha. So that's the one 284 00:09:12,279 --> 00:09:16,199 perf jog. 285 00:09:13,120 --> 00:09:18,080 >> Yes. Amazing. Which is stop plus 286 00:09:16,200 --> 00:09:19,440 forward. I can also, of course, do stop 287 00:09:18,080 --> 00:09:21,480 plus backward to go the opposite 288 00:09:19,440 --> 00:09:23,320 direction if I need to. 289 00:09:21,480 --> 00:09:25,320 And we are almost ready to scan a frame, 290 00:09:23,320 --> 00:09:26,879 but before I do, make sure I take the 291 00:09:25,320 --> 00:09:27,680 calibration strip. 292 00:09:26,879 --> 00:09:29,360 Oh. 293 00:09:27,679 --> 00:09:32,039 >> scan like that, but it will not look 294 00:09:29,360 --> 00:09:33,680 very good. So What does the calibration 295 00:09:32,039 --> 00:09:35,279 strip do? It's a color calibration? 296 00:09:33,679 --> 00:09:37,839 >> It's It's a color calibration and it 297 00:09:35,279 --> 00:09:39,639 basically emulates the unexposed film 298 00:09:37,840 --> 00:09:41,600 that is processed. 299 00:09:39,639 --> 00:09:43,840 We call it the film base. Gotcha. 300 00:09:41,600 --> 00:09:46,040 >> So it is 301 00:09:43,840 --> 00:09:48,519 just a piece of clear Right, that is 302 00:09:46,039 --> 00:09:50,240 sort of the neutral of film. Yes. And 303 00:09:48,519 --> 00:09:52,125 yes, it's a little scuffed up. It's been 304 00:09:50,240 --> 00:09:52,600 used many years. 305 00:09:52,125 --> 00:09:55,639 >> [laughter] 306 00:09:52,600 --> 00:09:57,560 >> The fact that it's here and not here 307 00:09:55,639 --> 00:09:59,039 throws it so far out of focus, you don't 308 00:09:57,559 --> 00:10:00,959 the blemishes or what have you. 309 00:09:59,039 --> 00:10:02,799 >> the blemishes don't matter. Speaking of 310 00:10:00,960 --> 00:10:04,040 which, one of the things that we do in 311 00:10:02,799 --> 00:10:06,120 this room is we have to control the 312 00:10:04,039 --> 00:10:07,919 temperature and humidity very tightly. I 313 00:10:06,120 --> 00:10:10,399 would imagine the humidity could affect 314 00:10:07,919 --> 00:10:12,679 image quality, right? Humidity will 315 00:10:10,399 --> 00:10:14,720 cause the film to warp. 316 00:10:12,679 --> 00:10:16,719 The IMAX frame is so big that it 317 00:10:14,720 --> 00:10:19,160 actually can warp as it goes into the 318 00:10:16,720 --> 00:10:20,600 gate and still feed through the machine. 319 00:10:19,159 --> 00:10:22,639 Is it because the celluloid is slightly 320 00:10:20,600 --> 00:10:23,159 hygroscopic, it absorbs a little water? 321 00:10:22,639 --> 00:10:23,879 EXACTLY. 322 00:10:23,159 --> 00:10:25,360 >> WOW. 323 00:10:23,879 --> 00:10:26,919 >> EXACTLY. 324 00:10:25,360 --> 00:10:29,000 And we've had 325 00:10:26,919 --> 00:10:30,559 we've experienced it where it's like we 326 00:10:29,000 --> 00:10:33,000 scan something then when we scanned it a 327 00:10:30,559 --> 00:10:35,719 couple days later it's like, wait, why 328 00:10:33,000 --> 00:10:36,519 is it a different focus? Wow, that's 329 00:10:35,720 --> 00:10:38,960 amazing. 330 00:10:36,519 --> 00:10:40,600 >> Let's We really jumped on it, made sure 331 00:10:38,960 --> 00:10:42,800 that everything was 332 00:10:40,600 --> 00:10:44,159 properly set up and So then temperature 333 00:10:42,799 --> 00:10:46,479 and humidity control is part of the 334 00:10:44,159 --> 00:10:48,279 calibration process of this room. Yes, 335 00:10:46,480 --> 00:10:49,639 and that's why you hear air running 336 00:10:48,279 --> 00:10:51,039 continuously 337 00:10:49,639 --> 00:10:53,840 >> in this room. So you got a lot of 338 00:10:51,039 --> 00:10:55,661 hoodies and fleeces. You make sure 339 00:10:53,840 --> 00:10:57,080 you're buttoned down warm and you 340 00:10:55,662 --> 00:10:58,759 [laughter] take care of the all of that 341 00:10:57,080 --> 00:11:01,040 you make sure that that's good. Um and 342 00:10:58,759 --> 00:11:02,720 this is the business end of the scanner 343 00:11:01,039 --> 00:11:04,519 coming through this way. Uh so the light 344 00:11:02,720 --> 00:11:06,680 column is here, the light is underneath. 345 00:11:04,519 --> 00:11:08,799 Gotcha. Goes up and I think they use a 346 00:11:06,679 --> 00:11:12,039 prism or a mirror and deflect it into 347 00:11:08,799 --> 00:11:14,120 the camera which is here. Gotcha. Um And 348 00:11:12,039 --> 00:11:16,360 it is a linear array so it's not taking 349 00:11:14,120 --> 00:11:17,839 the entire picture at the same time. 350 00:11:16,360 --> 00:11:20,552 It's taking 351 00:11:17,839 --> 00:11:22,160 one set of pixels vertically up to 6,144 352 00:11:20,552 --> 00:11:24,120 [laughter] 353 00:11:22,159 --> 00:11:27,679 pixels vertically. So the scanner is 354 00:11:24,120 --> 00:11:29,919 just basically one pixel wide and film 355 00:11:27,679 --> 00:11:33,120 frame tall. Uh ish 356 00:11:29,919 --> 00:11:34,639 >> Yes. ish Exactly, yeah. 357 00:11:33,120 --> 00:11:35,759 12 and 1/2 seconds. 358 00:11:34,639 --> 00:11:37,838 >> 12 and 1/2 seconds. 359 00:11:35,759 --> 00:11:40,759 >> I I'll be frank, knowing what it's 360 00:11:37,839 --> 00:11:42,360 trying to do that sounds fast. 361 00:11:40,759 --> 00:11:43,720 But it also sounds slow. 362 00:11:42,360 --> 00:11:45,200 >> Incredibly slow. [laughter] When we look 363 00:11:43,720 --> 00:11:47,759 at the other machine you'll be like, 364 00:11:45,200 --> 00:11:49,759 that is very very slow. Um can we just 365 00:11:47,759 --> 00:11:52,000 able to actually just witness a scanning 366 00:11:49,759 --> 00:11:53,480 sequence? Um yes, let give me a moment 367 00:11:52,000 --> 00:11:56,720 to set that up. 368 00:11:53,480 --> 00:11:58,639 Oh, one other thing you you hear the 369 00:11:56,720 --> 00:12:00,639 hear the hiss? Yeah. That's actually we 370 00:11:58,639 --> 00:12:03,360 actually have air knives on it. 371 00:12:00,639 --> 00:12:05,759 Partly to blow off the dust, partly to 372 00:12:03,360 --> 00:12:07,800 keep the film, you know, moving in it 373 00:12:05,759 --> 00:12:09,120 smoothly. Right, right. Where are the 374 00:12:07,799 --> 00:12:11,719 air knives? Are they here? 375 00:12:09,120 --> 00:12:11,919 >> They are actually in this. Right, right. 376 00:12:11,720 --> 00:12:13,960 Okay. 377 00:12:11,919 --> 00:12:15,519 >> So with if there was no film in the gate 378 00:12:13,960 --> 00:12:16,519 I could show you you could stick your 379 00:12:15,519 --> 00:12:18,600 put your hand in the gate and see 380 00:12:16,519 --> 00:12:21,360 actually feel them. Gotcha. Uh but the 381 00:12:18,600 --> 00:12:22,560 whole goal is when it's here no dust has 382 00:12:21,360 --> 00:12:24,480 been able to get anywhere near it. 383 00:12:22,559 --> 00:12:26,799 Exactly. Uh I really appreciate you 384 00:12:24,480 --> 00:12:28,879 walking me through this. This is it's 385 00:12:26,799 --> 00:12:30,759 it's amazing. Let's talk about this 386 00:12:28,879 --> 00:12:31,838 brand new one. Yes. 387 00:12:30,759 --> 00:12:33,679 So what's the biggest difference between 388 00:12:31,839 --> 00:12:36,440 the new machine and the old machine? Is 389 00:12:33,679 --> 00:12:38,479 it just speed? Part of it speed, part of 390 00:12:36,440 --> 00:12:41,320 it is the process that it takes the the 391 00:12:38,480 --> 00:12:43,560 image. Mhm. Um the old machine took it a 392 00:12:41,320 --> 00:12:45,879 single vertical line of pixels at a 393 00:12:43,559 --> 00:12:48,599 time. This actually will scan an entire 394 00:12:45,879 --> 00:12:51,080 frame except of course a gigantic frame 395 00:12:48,600 --> 00:12:53,720 like an IMAX frame because an IMAX frame 396 00:12:51,080 --> 00:12:56,639 is so big. So it actually scans the IMAX 397 00:12:53,720 --> 00:12:59,200 frame in thirds. Oh, so it does 1/3, 398 00:12:56,639 --> 00:13:01,120 middle third, other third. Yes. And it 399 00:12:59,200 --> 00:13:02,240 does its own stitching of them? Um no, 400 00:13:01,120 --> 00:13:03,360 we actually do that on a separate 401 00:13:02,240 --> 00:13:04,639 machine. Oh, amazing. 402 00:13:03,360 --> 00:13:06,440 >> We could do it on the separate on the 403 00:13:04,639 --> 00:13:06,960 same machine but it is a separate 404 00:13:06,440 --> 00:13:07,960 process. 405 00:13:06,960 --> 00:13:09,519 >> Gotcha. 406 00:13:07,960 --> 00:13:11,000 That allows us to do a little bit of 407 00:13:09,519 --> 00:13:12,360 extra work if we need to do some 408 00:13:11,000 --> 00:13:15,039 processing or something like that in 409 00:13:12,360 --> 00:13:17,800 between. Okay. And this one you may 410 00:13:15,039 --> 00:13:19,879 notice threads up the opposite direction 411 00:13:17,799 --> 00:13:20,519 from the the other machine. Goes right 412 00:13:19,879 --> 00:13:22,279 to left. 413 00:13:20,519 --> 00:13:24,720 >> It goes right to left. 414 00:13:22,279 --> 00:13:26,000 Apparently if we went left to right this 415 00:13:24,720 --> 00:13:27,680 whole apparatus would be have to be 416 00:13:26,000 --> 00:13:31,000 upside down and this whole big thing 417 00:13:27,679 --> 00:13:32,479 would have to stick up in the air. So 418 00:13:31,000 --> 00:13:34,039 >> Yes. That's so funny. 419 00:13:32,480 --> 00:13:35,560 >> Because I was I was freaked out that 420 00:13:34,039 --> 00:13:36,679 it's horrible when you have to scan on 421 00:13:35,559 --> 00:13:38,359 both machines at the same time. 422 00:13:36,679 --> 00:13:38,719 >> Oh cuz you're going back and 423 00:13:38,360 --> 00:13:40,279 uh yeah. 424 00:13:38,720 --> 00:13:42,160 >> and forth and you're like, which one is 425 00:13:40,279 --> 00:13:44,480 wound the right way? Sometimes you just 426 00:13:42,159 --> 00:13:46,159 have to stop and just yeah, I can 427 00:13:44,480 --> 00:13:48,360 imagine. This is where being on the 428 00:13:46,159 --> 00:13:50,120 computer helps because on the computer 429 00:13:48,360 --> 00:13:51,680 forward is always forward, backward is 430 00:13:50,120 --> 00:13:52,000 always backward. [laughter] 431 00:13:51,679 --> 00:13:54,159 Okay. 432 00:13:52,000 --> 00:13:56,200 >> So the setup is actually similar here as 433 00:13:54,159 --> 00:13:58,600 you do a rough setup and then you do the 434 00:13:56,200 --> 00:14:01,920 spool winding. Exactly, yes. Then fill 435 00:13:58,600 --> 00:14:01,920 in the details as it were. 436 00:14:03,279 --> 00:14:06,679 That's 437 00:14:05,360 --> 00:14:09,039 There we go. And this one also has 438 00:14:06,679 --> 00:14:11,039 tension arms. Gotcha. 439 00:14:09,039 --> 00:14:12,679 Some things don't change. You always 440 00:14:11,039 --> 00:14:15,838 need tension arms to make sure that the 441 00:14:12,679 --> 00:14:15,838 motors on the 442 00:14:16,000 --> 00:14:20,399 on the rolls of film aren't taking up 443 00:14:18,799 --> 00:14:21,719 too tightly or too loosely. And your 444 00:14:20,399 --> 00:14:23,958 goal is that each tension arm is 445 00:14:21,720 --> 00:14:26,279 vertical. Roughly. It they au- 446 00:14:23,958 --> 00:14:28,399 automatically will you know, they'll 447 00:14:26,279 --> 00:14:29,799 stop if at a certain point. I go mostly 448 00:14:28,399 --> 00:14:31,559 go approximately the right place, 449 00:14:29,799 --> 00:14:34,559 sometimes a little past and then they 450 00:14:31,559 --> 00:14:36,439 stop cuz that's where they need to be. 451 00:14:34,559 --> 00:14:38,519 It's called reader. We can read the key 452 00:14:36,440 --> 00:14:39,560 codes that are that Kodak puts on the 453 00:14:38,519 --> 00:14:41,439 film 454 00:14:39,559 --> 00:14:43,719 and that way the editorial people can 455 00:14:41,440 --> 00:14:45,000 tell us scan these exact set of frames 456 00:14:43,720 --> 00:14:46,839 and we can say 457 00:14:45,000 --> 00:14:47,639 okay, wherever it is on the roll find 458 00:14:46,839 --> 00:14:49,320 it, scan this. 459 00:14:47,639 --> 00:14:49,879 >> Well that makes that process much 460 00:14:49,320 --> 00:14:52,640 faster. 461 00:14:49,879 --> 00:14:53,039 >> makes it much faster and very accurate. 462 00:14:52,639 --> 00:14:54,319 Okay. 463 00:14:53,039 --> 00:14:56,120 >> So instead of having to take those 464 00:14:54,320 --> 00:14:57,240 numbers and go, okay, what's the number 465 00:14:56,120 --> 00:14:59,000 at the beginning of the roll, do these 466 00:14:57,240 --> 00:14:59,240 calculations, how far down do I have to 467 00:14:59,000 --> 00:15:01,240 go? 468 00:14:59,240 --> 00:15:02,959 >> And then go ahead and pick. Exactly, 469 00:15:01,240 --> 00:15:05,279 just find it. 470 00:15:02,958 --> 00:15:07,439 So that's kind of what we have for the 471 00:15:05,279 --> 00:15:09,519 setup on that. And again notice it is a 472 00:15:07,440 --> 00:15:11,800 vertical operation rather than a 473 00:15:09,519 --> 00:15:13,319 horizontal one. Uh hence the glass doors 474 00:15:11,799 --> 00:15:15,958 and the dust mitigation. But it's 475 00:15:13,320 --> 00:15:20,320 effectively the same machine just more 476 00:15:15,958 --> 00:15:21,719 than an order of magnitude faster. Yes. 477 00:15:20,320 --> 00:15:24,520 Dude, I 478 00:15:21,720 --> 00:15:26,079 already just in the last 10 minutes here 479 00:15:24,519 --> 00:15:28,559 my mind has been blown like three or 480 00:15:26,078 --> 00:15:31,399 four times and it's all about the scale. 481 00:15:28,559 --> 00:15:33,039 The scale of this frame of film is is is 482 00:15:31,399 --> 00:15:35,039 diabolical in terms of all your 483 00:15:33,039 --> 00:15:37,480 processes with it. Yeah. This is 484 00:15:35,039 --> 00:15:39,919 scanning. You guys also do a lot of 485 00:15:37,480 --> 00:15:41,320 recording. What's the other part of this 486 00:15:39,919 --> 00:15:43,958 process? Can we walk through that? 487 00:15:41,320 --> 00:15:44,640 >> you don't have film and you need film. 488 00:15:43,958 --> 00:15:45,799 Let's do that. 489 00:15:44,639 --> 00:15:48,480 >> Okay, good. 490 00:15:45,799 --> 00:15:50,078 All right. This is film recording. Yes. 491 00:15:48,480 --> 00:15:52,759 IMAX has been around and has been 492 00:15:50,078 --> 00:15:54,919 scanning for a long time. So this is 493 00:15:52,759 --> 00:15:57,000 real legacy equipment back to the early 494 00:15:54,919 --> 00:15:58,120 days. It is. If you remember the Silicon 495 00:15:57,000 --> 00:16:01,759 Graphics machines 496 00:15:58,120 --> 00:16:02,600 >> Yes, very well. Yeah, we used those to 497 00:16:01,759 --> 00:16:04,600 run these machines. 498 00:16:02,600 --> 00:16:06,159 >> Oh, hilarious. Good god, I remember one 499 00:16:04,600 --> 00:16:08,360 year at the ILM Christmas party that was 500 00:16:06,159 --> 00:16:11,078 actually the door prize for best costume 501 00:16:08,360 --> 00:16:13,240 was an O2 workstation. Nice. Okay, so 502 00:16:11,078 --> 00:16:15,719 what is the technology that is used to 503 00:16:13,240 --> 00:16:16,519 get the image the digital image printed 504 00:16:15,720 --> 00:16:18,360 onto the film? 505 00:16:16,519 --> 00:16:22,199 >> So to get the digital image printed on 506 00:16:18,360 --> 00:16:24,240 the film in the base here we have 507 00:16:22,200 --> 00:16:26,320 obviously boards and stuff that run that 508 00:16:24,240 --> 00:16:27,600 run this. But the big thing is the the 509 00:16:26,320 --> 00:16:29,600 tube. The tube? 510 00:16:27,600 --> 00:16:30,079 >> the We literally have a cathode ray 511 00:16:29,600 --> 00:16:33,000 tube. 512 00:16:30,078 --> 00:16:35,439 >> What? Like the old tube tube TVs but way 513 00:16:33,000 --> 00:16:37,159 more advanced obviously. There's a CRT 514 00:16:35,440 --> 00:16:39,959 at the heart of the scan of this 515 00:16:37,159 --> 00:16:41,759 printer? There is. So obviously the CRT 516 00:16:39,958 --> 00:16:43,559 machine gives you the precision that 517 00:16:41,759 --> 00:16:46,679 you're looking for on a pixel by pixel 518 00:16:43,559 --> 00:16:47,119 color fidelity by color fidelity basis. 519 00:16:46,679 --> 00:16:48,199 Yes. 520 00:16:47,120 --> 00:16:50,440 >> That's astounding to me. 521 00:16:48,200 --> 00:16:52,440 >> Exactly, yeah. Um does it do it in a 522 00:16:50,440 --> 00:16:54,720 mono color and then you use filters for 523 00:16:52,440 --> 00:16:57,560 the color? We do indeed, yes. So the 524 00:16:54,720 --> 00:16:59,240 tube itself is is a particular white and 525 00:16:57,559 --> 00:17:01,519 then we run it through some filters. So 526 00:16:59,240 --> 00:17:03,360 we have a We don't use the clear filter 527 00:17:01,519 --> 00:17:04,838 but we could if we needed to. There's a 528 00:17:03,360 --> 00:17:06,799 red, green and blue filter. I'm going 529 00:17:04,838 --> 00:17:08,958 backwards here. That's the blue filter, 530 00:17:06,799 --> 00:17:11,599 the green filter. So it's like the old 531 00:17:08,959 --> 00:17:14,560 the old three strip process reversed in 532 00:17:11,599 --> 00:17:17,279 order to obtain the imagery. That is so 533 00:17:14,559 --> 00:17:18,119 cool that the CRT provides the precision 534 00:17:17,279 --> 00:17:19,720 that you need. 535 00:17:18,119 --> 00:17:20,958 >> Yes. 536 00:17:19,720 --> 00:17:23,480 So 537 00:17:20,959 --> 00:17:25,279 this is the tube. 538 00:17:23,480 --> 00:17:27,838 And as you can see it is rather big. 539 00:17:25,279 --> 00:17:30,440 God. The piece the piece here at the end 540 00:17:27,838 --> 00:17:33,759 >> Yeah. is what they call the thick glass 541 00:17:30,440 --> 00:17:35,559 because if dust settles on the tube 542 00:17:33,759 --> 00:17:38,879 you have a problem. It sits there the 543 00:17:35,559 --> 00:17:40,240 entire time and you have a speck 544 00:17:38,880 --> 00:17:42,320 on your movie. 545 00:17:40,240 --> 00:17:43,076 And if the camera pans, you know, the 546 00:17:42,319 --> 00:17:43,439 the 547 00:17:43,076 --> 00:17:45,279 >> [clears throat] 548 00:17:43,440 --> 00:17:47,960 >> the speck just sits there and you can 549 00:17:45,279 --> 00:17:50,000 totally see it. So they the way to do to 550 00:17:47,960 --> 00:17:51,880 avoid that was that they came up with is 551 00:17:50,000 --> 00:17:53,640 to put a big really thick piece of 552 00:17:51,880 --> 00:17:56,679 glass. More than half the weight sits 553 00:17:53,640 --> 00:17:59,880 just in this glass. Wow. And it puts the 554 00:17:56,679 --> 00:18:02,080 the piece of dust if there is one way 555 00:17:59,880 --> 00:18:03,880 outside the focal plane. 556 00:18:02,079 --> 00:18:05,919 Oh, that's brilliant. That's so 557 00:18:03,880 --> 00:18:08,320 brilliant. Yeah. 558 00:18:05,920 --> 00:18:09,800 So you guys are are printing on the same 559 00:18:08,319 --> 00:18:12,919 kind of reels like two, three minutes at 560 00:18:09,799 --> 00:18:14,839 a time? Yes. What is the how slow is how 561 00:18:12,920 --> 00:18:15,720 good I was not going to say how fast is 562 00:18:14,839 --> 00:18:17,559 this. How slow is this? 563 00:18:15,720 --> 00:18:20,880 >> So once upon a time we could get a lot 564 00:18:17,559 --> 00:18:22,919 better speeds but with the CRTs as they 565 00:18:20,880 --> 00:18:24,800 age they get dimmer and we have to 566 00:18:22,920 --> 00:18:26,160 expose the image longer in order to get 567 00:18:24,799 --> 00:18:28,519 the same exposure. 568 00:18:26,160 --> 00:18:30,919 >> Am I correct that all the CRTs that have 569 00:18:28,519 --> 00:18:33,000 ever been built for this are already 570 00:18:30,919 --> 00:18:34,560 built and you're just grabbing new old 571 00:18:33,000 --> 00:18:35,480 stock where it shows up? 572 00:18:34,559 --> 00:18:37,678 >> And seeing if we can get them 573 00:18:35,480 --> 00:18:38,559 refurbished which is a job 574 00:18:37,679 --> 00:18:40,080 unto itself. 575 00:18:38,559 --> 00:18:41,678 >> Oh my, can't even imagine. These are 576 00:18:40,079 --> 00:18:43,439 technologies that are rapidly their 577 00:18:41,679 --> 00:18:45,400 support structure is disappearing all 578 00:18:43,440 --> 00:18:46,559 the time. It is, yeah. So they get 579 00:18:45,400 --> 00:18:48,800 slower as they age. 580 00:18:46,559 --> 00:18:50,639 >> Yeah. Currently we're running somewhere 581 00:18:48,799 --> 00:18:52,879 between a minute and two and a half 582 00:18:50,640 --> 00:18:55,159 minutes per frame. Oh my gosh. You 583 00:18:52,880 --> 00:18:57,240 thought 12 and 1/2 seconds was slow? 584 00:18:55,159 --> 00:18:59,320 A minute to a minute and a half. Um and 585 00:18:57,240 --> 00:19:01,240 this is so like Christopher Nolan shoots 586 00:18:59,319 --> 00:19:03,639 on film, he brings a couple of different 587 00:19:01,240 --> 00:19:05,559 shots that need a an effect done to them 588 00:19:03,640 --> 00:19:08,840 that is executed on these. 589 00:19:05,559 --> 00:19:11,799 >> Exactly. Incredible. My joke is 590 00:19:08,839 --> 00:19:13,959 I got tired of watching paint dry. 591 00:19:11,799 --> 00:19:15,559 Grass grew too quickly [laughter] for me 592 00:19:13,960 --> 00:19:20,079 so I went into film recording. 593 00:19:15,559 --> 00:19:22,839 Hilarious. How many backup CRT tubes do 594 00:19:20,079 --> 00:19:25,258 you have in stock currently? 595 00:19:22,839 --> 00:19:27,278 How about the other question? 596 00:19:25,258 --> 00:19:27,278 >> [laughter] 597 00:19:27,319 --> 00:19:31,119 >> I have like seven machines in the room 598 00:19:29,519 --> 00:19:32,000 and about four of them are working. Oh 599 00:19:31,119 --> 00:19:34,359 my gosh. 600 00:19:32,000 --> 00:19:35,799 >> Because of the CRTs. Um so I I would 601 00:19:34,359 --> 00:19:38,079 imagine there are people working on 602 00:19:35,799 --> 00:19:39,879 solving this problem currently. Yes. 603 00:19:38,079 --> 00:19:41,559 >> Okay. There are various solutions by a 604 00:19:39,880 --> 00:19:43,640 couple different groups trying to find 605 00:19:41,559 --> 00:19:45,799 basically find replacements for the CRT. 606 00:19:43,640 --> 00:19:47,520 Because this still exceeds the precision 607 00:19:45,799 --> 00:19:49,440 of anything currently being built. And 608 00:19:47,519 --> 00:19:51,799 reliability. You want something that's 609 00:19:49,440 --> 00:19:54,000 not only precise but is reliable that 610 00:19:51,799 --> 00:19:56,200 you can put a thousand feet of film, do 611 00:19:54,000 --> 00:19:57,359 it a frame at a time, and 4,000 frames 612 00:19:56,200 --> 00:19:58,960 later 613 00:19:57,359 --> 00:20:01,000 get it processed, look at the print, and 614 00:19:58,960 --> 00:20:03,600 go, "Yep, that looks good." Amazing. 615 00:20:01,000 --> 00:20:05,200 >> Every time. Um I notice it's freezing 616 00:20:03,599 --> 00:20:06,879 cold in this room. You're way colder 617 00:20:05,200 --> 00:20:07,160 even than in the other in the scanning 618 00:20:06,880 --> 00:20:08,760 room. 619 00:20:07,160 --> 00:20:10,240 >> That's a little bit accidental. It's 620 00:20:08,759 --> 00:20:12,319 supposed to be the same temperature and 621 00:20:10,240 --> 00:20:13,880 humidity as the other [laughter] room. 622 00:20:12,319 --> 00:20:15,960 Um because we used at one point we used 623 00:20:13,880 --> 00:20:18,560 to have 18 of these machines. If you can 624 00:20:15,960 --> 00:20:20,640 imagine 18 of them packed into this room 625 00:20:18,559 --> 00:20:22,879 You needed to pump a lot of cool into 626 00:20:20,640 --> 00:20:24,320 here to keep them all running optimally. 627 00:20:22,880 --> 00:20:26,960 Exactly. Wow. 628 00:20:24,319 --> 00:20:28,960 >> So, we've made some adjustments to the 629 00:20:26,960 --> 00:20:31,440 temperature to accommodate for fewer 630 00:20:28,960 --> 00:20:33,400 machines, but it's still cold. So, in 631 00:20:31,440 --> 00:20:35,279 this day and age when some filmmakers 632 00:20:33,400 --> 00:20:37,640 can leave critical decisions about a 633 00:20:35,279 --> 00:20:39,839 shot up until days before the film's 634 00:20:37,640 --> 00:20:41,640 release, they must have a rude awakening 635 00:20:39,839 --> 00:20:43,599 when they come to you guys for post. I'm 636 00:20:41,640 --> 00:20:45,840 sure they do. [laughter] I'm hoping that 637 00:20:43,599 --> 00:20:47,799 they go, "Oh, okay, let's figure this 638 00:20:45,839 --> 00:20:49,279 out. Let's make sure that this works." 639 00:20:47,799 --> 00:20:52,759 Well, I mean because the deadlines are 640 00:20:49,279 --> 00:20:54,799 real deadlines. Um this has been such an 641 00:20:52,759 --> 00:20:55,559 eye-opener. Uh thank you so much, man. 642 00:20:54,799 --> 00:20:58,480 This is 643 00:20:55,559 --> 00:20:58,480 incredible.