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This topic comprises 4 pages: 1 2 3 4
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Author
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Topic: Mr. Nasher strikes again!
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Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 09-11-2015 09:45 AM
The "good enough" thing is what pisses me off most about "digital." And it's not just in movie-going either. I see a lot of "good enough" or just plain WRONG crap going on in my line of work (graphic design/advertising).
There was plenty of "good enough" nonsense and poor workmanship that took place in movie productions when everything was shot on film and the audio was all analog. However, the big budget productions typically pushed the technology to its limits and had some pretty serious planning and strategy for how to do it. I'm still more impressed with many of the space battle visuals in Return of the Jedi than I am with any modern CGI sequence. ILM labored over the details in those film-based visual effects. They had to do so since there was no "undo button" and a committee of arm chair quarterbacks couldn't go back and compulsively change a bunch of shit on the fly. In the end those old analog-based effects looked pretty damned believable. Meanwhile a bunch of modern CGI looks like a stupid cartoon. It looks like a cartoon because the stuff is just churned out quickly with "good enough" standards. They're not pushing the technology to the limit.
Return of the Jedi is what got THX going, and added to the uncompromising status of the GCC Northpark #1 screen. They found and solved audio problems in that theater. It wasn't enough just to get the "THX" brand onto the theater and into newspaper ads.
Today it seems like the techs are only paid to just slap in the amps, speakers, etc. and then who gives a damn how well the finished system actually works? No one is even going to know any specifics of the configuration anyway since its all just "secret sauce" supposedly adding to a meaningless fake large format brand like IMAX, RPX, XD, Big-D, etc. The theater operators want customers to think that logo means the theater will be delivering the best possible movie-going experience. They obscure the fact many of these premium houses are not all equipped the same way and many of them are equipped barely any better than a standard priced auditorium.
Many big chain theaters have the sound turned way down in their standard priced auditoriums while running the volume louder in the higher priced rooms. At the GCC Northpark 1-2 I didn't have to pay extra for digital sound with sub bass deep enough to rattle the air in my chest. That was standard there.
I'm pretty disappointed with how surround sound is being handled in movie theaters right now.
In its beginning Dolby Atmos was showing a great deal of promise. Unfortunately the pace of new installations has slowed to a crawl, even with the hype surrounding Dolby Cinema and Atmos being a part of it. Out of the theaters that are installing it some are making compromises on the kinds of speakers being installed, skimping on the amps or not even installing surround sub bass enclosures. It's deemed too expensive to maintain a certain standard and have the audio working the way it should. Meanwhile all but four IMAX-branded theaters have dopey 5.0 surround yet charge huge sums of money for a ticket. Auro and DTS MDA are adding more confusion to this and, arguably, allowing theater operators to throw "immersive sound" hype at customers in a more cost cutting manner.
If I go into a movie theater I've never visited before I'm often now entering with really low expectations: slightly out of focus picture with less detail than my HDTV screen and mystery meat surround sound that might be 5.1 or 7.1 but have wimpy bass and questionable mid range. And that might include paying a surcharge for the not so remarkable experience. Gotta love "PLF" brand worship.
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