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‘West Side Story’ – a 70mm print? – oh I’ll be there!
HDCam looks like a Betamax/VHS cassette – I’m not sure why it’s encoded, delivered, presented as such since I thought it can only feature a movie no longer than 124 minutes in length (‘Star Trek: The Motion Picture’ is 132 minutes)
there was a United Artists theater here in Rockville in the same general area, but not in the exact location – I remember it because that’s where I saw ‘Robocop 2’ in 1990.
from an article regarding the conversion from 15/70 to digital projection on the IMAX screen:
“All three of Smithsonian’s IMAX theaters will close from January to March 2015 to convert from film to digital.”
from this online article:
from my understanding the conversion means that with the upgrade, this location will finally be able to showcase IMAX 3D features.
so ‘Star Trek II’ 70mm/6-track mix was a baby boom mix then – right? or was it five across/mono surround?
Is there a master list online of what films were baby boom 6-track mixes?
it’s opening date is actually October 17th.
I was too young to fully appreciate 70mm at the time, but I remember seeing ‘The Dark Crystal’ here.
my fond memory of the Key theater was a Sunday morning pre-release screening of ‘The Crying Game’ (Key Sunday Cinema Club) – someone accidentally dropped their coffee on my back … and the movie itself was great.
I’m honestly not sure why Paul Thomas Anderson chose 70mm to film ‘The Master’ in – some of the photography looked great, but the subject matter and plot was so off kilter – I didn’t think it enhanced it.
Nor did I find the 5.1 sound that remarkable or memorable.
Blu-ray.com states that even the blu-ray disc “The DTS-HD MA 5.1 track reproduces Greenwood’s score with a forceful presence that takes full advantage of the surround array. .
Major effects such as the ocean or the interior of a naval vessel are noteworthy, but in general The Master’s mix goes for subtle environmental ambiance that doesn’t draw attention away from the visuals."
Howard: ‘Gone Girl’ is actually mixed in 7.1, so even though I haven’t seen it yet, I’d assume the mix would be much more prevalent and aggressive than ‘The Master’s’
question: is the digital projection system still the NEC projector or did it change when Bow Tie took over?
Brad Miller from over at Film Tech states the sound IS NOT mag sound
The entire East building of the museum is under renovations until it’s reopening in 2017. As a result the film series have been relocated to other theaters including the museum’s own West Building Lecture Hall.
On a technical note, the DLP system that is part of the theater’s system is a 2K Barco DP2000 digital projector.
I see that Cinema Arts will be showcasing “Interstellar” in 35mm come November… Nice!
‘Mike’ you seriously don’t know nothing about Christopher Nolan’s ‘Interstellar’? I find that hard to believe. Or were you talkimg about ‘The Master’?
The tweet/response I got from the Silver in regards to the booking of the 70mm print of “Interstellar” was that they are looking into it. I’m sure the too close to the Regal Majestic and their IMAX digital screen might be problematic.
this complex might be sighing a sense of relief that the promised RPX screen over at the upcoming Dulles Town Center 10-plex is a dead deal… good for them,sucky for the Mall theater.
whoever did the mastering of Paramount’s classic ‘Chinatown’ – (I saw the DCP here at the Silver and my jaw was on the floor) should do the Star Trek films the justice they deserve. There is no reason why these films should NOT look and sound their best (that properly mastered DCP resolution/audio replication can deliver)
a bluray presentation of “Star Trek: The Motion Picture” – ewww, yuck. Have any of the Star Trek movies outside of the two latest versions been encoded on DCP? For such Paramount tent pole A-list sci-fi films, the transfers to bluray have been a mixed bag (i.e, pathetic)
as for Wise’s ‘West Side Story’ and ‘Sound of Music’ the AFI is still working out if said presentations will be 35mm prints or DCP’s – but the tweet I got from them, said that 70mm was a no-go [insert sad face]
Wait.. what? … I didn’t think the new IMAX laser systems weren’t going to debut until next year
in regards to “Oklahoma!” – which I wasn’t able to see, it doesn’t make sense that the restorers spent so much time on the image, but couldn’t encode the sound with the five front channel setup, when DCI compliant processors actually can encode/extract the left/center, right/center channels of sound.
The bluray is actually mixed to 7.1 sound (left, center, right, side-left surround, left center rear, right center rear, side right surround). Technically the AFI Silver which can playback 7.1 films on all it’s three sceens, this could have been a possibility, but ultimately that would have furthered the sound experience from the original theatrical mix (that SHOULD have been on the DCP). Interestingly the bluray is video encoded at 1080i to recreate the 30 frame per second Todd-AO ‘look’.
this weblink actually denotes the change from the planned DCP to a 35mm ‘Sound of Music’ screening:
while I agree that the pink-red tinged print of the ‘Around the World in Eighty Days’ was disappointing, I thought the directional sound was the highlight, except when there was some odd ‘thumping’ in the surround channels (which I assume indicated that the audio tracks on the prints were slightly damaged in some way)
but overall I was very very impressed by ‘Ryan’s Daughter’ (both films I had not scene before)– notably the photography during the love making scene in the forest – it felt like maybe Terrence Malick was inspired by said scene.
oh that was you Howard? I was the one that took that second picture of you in front of the doors…
from what I remember of ‘The Sound of Music’ last year was that it was supposed to debut the new DCP system in the main auditorium, but when the system had been delayed, the AFI had to do a change over to a 35mm print.
NO —– IMAX-Lite !! [pulls hair out]– in doing that, they’d get stuck with all the crap IMAX exclusive titles i.e, ‘Teenage Mutant Turtles’.
I don’t know why AMC is thumbing it’s nose up at Atmos, when quite a number of past Atmos mixed films have played here. Personally I think Auro’s sound format is akin to the marketing and release of Kodak’s CDS sound all over again – they went tail up. They like to claim they have studio backing, but I don’t see it…
I think AMC is playing it cheap but one, not being more aggressive to the installation of Dolby Atmos – at least two other theaters that have balconies have figured out how to configure Atmos (and the speaker placement) around it.
Two: the Uptown should be considering what the Seattle Cinerama is doing now, upgrading to Christie’s new 4K laser projector system, but again, I don’t see AMC jumping up and down spending MORE money here at the Uptown for additional upgrades.
I got a Facebook message from AMC that stated they are in the process of figuring how to upgrade the sound system. It implied that it wouldn’t be Dolby Atmos but nor did the explicitly state Auto 11.1 either
was there this morning to see “Land Ho!” (an utterly charming movie by the way – highly recommended) – but I have to say the coffee they serve is surprisingly good and cheap $1.75 (with refills) – and you can add flavoring to it. Little things like this make me happy – and six bucks (admission price) before 11am – thumbs up!