Granted, it is easier and cheaper to produce and manage a DCP [digital cinema package] than a 35mm print. And some classics did find their way to independent or repertoire theatres (the few who survived the digital switch, that is). Several archives, ours included, are enjoying these benefits of the digital switchover. And advertising an 8K or 20K or whatever-K restoration can bring in audiences. But many of us also have tons of perfectly fine 35mm of classics, and they cannot be shown any more. Why not?*35mm projectors are basically gone*Some catalogue owners permit screening only their “restored DCP” (and strictly with English or French subtitles – so much for cultural diversity!)At the end of the day the number of available classic titles went down, not up.We could talk about this situation a long time, but let’s home in on one effect of the digital transition. The story I want to tell today is one about those “technical details” that we seem never able to get right. Only the Gods of Cinema know why.We could talk about screen ratios in this connection, but not today. Today we talk about frame rates.