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CRAP! It looks like the Nov 8 6:45 pm showing is DIGITAL. I bought tickets for that show, and it looks like I have to trade the tickets for a 70mm showing or sell them. No way I’m going 250+ miles to see a crappy digital show on a 2K NEC projector, when I can see 35mm right in Fairfax.
But why is 35mm good when so-called “projectionists” these days scratch up the entire film?
15/70 would be nice if I didnt have to see black on most of the screen most of the time or hear it through Udvar-Hazy’s muddy sound system.
Did studio color timing move to Xenon by 1985? I saw Labyrinth (1986) projected on Xenons and it had more of a bluish tint than the DVD or Blu. Was that film color-timed for Carbon Arcs?
I just hope for a TAP-style quality control for this release. Theaters in my area kept their or recently opened with 35mm projectors like Angelika Mosaic, AFI Silver and E Street Cinema.
One of the screens at the new Arclight may have Dolby Atmos. There is a video of an auditorium in the new complex, and it looks like it has room for five stage speakers, extra front surrounds, and overheads. Here is the video, starts at the 9 minute mark.
Where did you hear about the sound being 6-track mag? Give us your sources because those two links said the sound on 70mm prints is digital.
I hear once Regal opens up the Mall theater, this will close. If it does, one of my suggestions was Landmark renovating the theater, de-twinning some of the screens, so less screens more quality. I’ve always wanted a Landmark in NoVA.
It appears that Interstellar will be showing here in standard 70MM. I hope this isn’t another “The Master” in regards to surround sound.
Please, oh I beg please, Bow-Tie, do NOT fuck this up.
Sound system is sort of a crapshoot here.
Chef in theater #3 sounded bland, but that had to do with the mix itself.
Snowpiercer in theater #1 was loud and chaotic, but clear.
Guardians of the Galaxy in theater #2 was quieter than Snowpiercer. The theater itself had a noise floor issue, it sounded like the HVAC was pretty audible, and this was throughout the entire film and ruined the quiet moments.
Is screen #1 able to play back 7.1 movies? Plenty of 7.1 capable theaters like Alamo Drafthouse in Ashburn, VA do not appear on Dolby’s web site, so I am wondering if this is the case. I saw the latest Planet of the Apes on the aforementioned screen and the 3D was pretty bright and the sound was kicking loads of buttocks, literally. The bass was shaking my seat! I was wondering because the sound field was pretty robust. I think I saw two speakers on the back wall, the least amount needed to add 7.1. Just a general question, that’s all.
It looks like the XD screen is Auro-capable. I asked the manager on the phone if an Auro system was installed, he said it was ready, but it wasn’t configured yet. When I caught the XD matinee of Lucy today, the sound had some depth to it, more so than traditional 5.1. Given that Lucy was mixed in Auro 11.1, the 11.1 track played. I noticed an added dimension of height at some moments, perhaps because I was expecting 5.1 to be played back. So it could be Auro or my mind playing tricks.
Sound system on the XD screen was really dense and really good. Barco projection was bright although there was no proper masking as expected in XD. Show playlist was FirstLook preshow, XD logo, film trailers, movie.
A Michael Bay movie that doesn’t sound like trash?! Hersey!
I initially came here today for ‘City Lights’, but due to unpredictable traffic I missed the show. So I decided to stay in Silver Spring for a while to exchange my ticket and got one for ‘The Grand Budapest Hotel’, which I had already seen. It was a DCP showing in #3. There seemed to be some slight keystoning from left to right rather than bottom to top, the scope moments of the film really showed off the odd effect. This being a THX cinema, I thought that was a peculiar oversight.
On a side note, the THX trailer ‘Cavalcade’ preceded the film. I was disappointed by the Deep Note in this. I thought the rain effects, thunder and crashing were much more “wow” for me. But then the DLP trailer that preceded the previews had a much more assertive and immersing mix.
A thought: what if AFI Silver installed Dolby Atmos in the historic theater? Considering the echo chamber issues the auditorium is having recently, it will be completely hilarious but sad.
This best not be happening. All movies in CT will sound like ‘Peabody’ in Auro!
I have a solution for side-masked screens. Install 5 speakers behind the screen. The AFI Silver does this. Just route front left and right to the far left and right for scope, route the two to front left center and front right center for flat. Same goes for the height channels in Auro.
I’ve gotten used to eating in the dark. The worst part is getting the check. Total distraction, but I do it as quickly and efficiently as possible.
Hey, Giles. I too was pissed about “Mr. Peabody” not filling up the screen and I even thought the sound was off-putting. I have a theory that the left and right fronts were covered by the masking, as auditorium 11 uses side masking. For the record, Turbo was a better-sounding film, and Ender’s Game uses Auro to its advantage. Those films were in scope, filled up the screen, and very robust (aside from the rattle issue in Ender’s Game). Let’s hope Amazing Spider-Man 2 is better.
Have you ever went out of the theater for a refund once the film has started? That just happened to me today. Not only the place was packed with noisy kids, you could see the pixel grid, fluctuating noise, and muffled sound. Will Ferrell’s voice panning from center to front right noticed a signifcant drop in quality and intelligability. Any sound expert knows that the front stage speakers should have equality in tonality, projection and color. This place is a living joke and I chose it because shows for The Lego Movie were sold out in Alamo and Cobb.
It’s going to be grueling for cinemas still using 35mm.
I’m starting to hate IMAX right now. I’ve always wanted to see a film in Empire 1 for its Dolby Atmos THX 56kw sound system, during a trip to the UK, and now I’ll never get the chance to do so. The IMPACT screen should resemble no more than an ETX or RPX screen here in the US, big screen without masking. :(
This area now has 100% reserved seating, with no surcharge says Cobb Theaters. I did notice a $0.25 surcharge for my matinee ticket when I went to see ENDER’S GAME in auditorium #11. The film was presented in Auro 11.1, a premium sound format at a regular price in this theater. But the best thing about it compared to IMAX/RPX/ETX… There is MASKING! Very inventive use of the sounds, this actually takes advantage of the format more so than TURBO did. Just one complaint, there was a rattling effect during a large portion of the low-frequency moments. Annoying, but a pleasant experience. Auro 11.1 is nowhere near as good as Dolby Atmos.
Well THAT just sucks.
GRAVITY was awesome on the RPX screen in Dolby Atmos. The entire sound mix enveloped me into this world I thought I’d never be in. It was an experience in itself. The 3D that was post-converted was really good, it almost helped the story. Although PACIFIC RIM rocked here, GRAVITY made this theater a favorite.
It looks like this place now has three screens with Dolby Atmos installed, including the RPX screen. All three are showing Insidious: Chapter 2 as of 9/14/2013.
This will forever be the theater that Mike and Jay went to see The Hobbit: An Unexpected Journey in HFR 3D on the UltraScreen and had an unpleasant experience. I guess none of you will get that unless you’ve watched Half in the Bag.
What better way to examine the Silver’s new DCP system than a screening of the 4K restoration of Lawrence of Arabia? I caught yesterday afternoon’s screening in screen #1. First of all the picture was rock steady. Steadier than the 70mm presentations of 2001 and The Master. The DCP is identical to the Blu-ray in that it used the same amazing master, but the DCP gained that resolution to create a grid-less picture. There certainly was less resolution than 70mm, but the digital restoration was just too marvelous.
A few complaints. The new DCP system is sketchy at the moment. There is slight keystoning towards the upper part of the image. The masking was first set to 2.35, but the picture was pillarboxed to 2.20 so the unused junk on the left and right sides was illuminated. Finally 90 minutes in, the side masking set to 2.20, and although if you look closely you can still see some of the black junk but it was reduced. Thank heavens. The douser was also open during the overture and entr'acte which contain a black screen while the douser should be closed during those moments. At least the curtains were used.
The sound was on the reverberating, wet side. Dialogue had an echo and was almost unintelligible. Thanks to the Art Deco stylized room that is screen #1, the modern screens 2 and 3 are acoustically superior to the technically superior screen 1.
Once the DCP system is at full speed, then the Silver will be totally versatile and even more amazing.