Oh, and as for DTS in the second-run, at MIT here we have DTS and no other digital formats (thanks to a generous donation from DTS), and in general we get discs for 95% of all the DTS prints we get. Not perfect, but definitely pretty good. Sometimes we have to go the extra mile to get the discs in time, but that still counts as getting them.

--jhawk

 |  IP: Logged

 |  IP: Logged

 |  IP: Logged

 |  IP: Logged

For art house and second run (we too only have DTS because of price and not exactly coincidently, because of the sonic quality.

But here's a question that I have wondered about. Given that fact that the longer a print is kicked around the second run circuit, the more of a chance there is that the disks will get lost or stolen or eaten for breakfast, or whatever else the idiots do with them who don't return them. What is the legal implications of making copies of them? As an art/rep house, unlike commercial theatres, we run titles over and over, sometimes years apart, but if it is a title we program, it is because we think it is important and at least 50% of the time it will play our theatre again in the future. Problem is, there is no guarantee that two years from now when we play, say MY FAIR LADY, that the print will come with DTS disks. It would make sense for houses like us to protect our future presentation values by librarying copies of every title that there is even the remote possibility of rerunning.

I was just thinking of the copyright implications -- obviously this kind of duplication is not for any purpose other than being able to play the digital track in the future and ONLY in conjuntion with the booking and licensing of that motion picture. Other than that, they sit on a shelf, waiting to CD rot to occur eek! And for all practical purposes, there would be no way to know that such a duplication had taken place in the first place -- my question is in theory, "strickly speaking" as it were.

Obviously Karen can speak better to c), of course.

Bottom line, if you are going to dupe them for your own theater's potential use down the road, I don't see any real problem with it so long as you aren't making dupes to auction off of Ebay. This happens all the time with first run prints when damaged discs arrive (mostly due to these current "super-thin" plastic cases the discs are being shipped in lately).

Near the end of that timeframe where single disc movies were being released without the THX sound files on them, I figured out a way to burn a disc with that THX sound file on it. To this day, they are still residing permanently in the B drives and work fine and dandy. Is Lucasfilm going to come after me for it? Well if they want to then fine, I'll surrender the discs to them, but it is those homemade discs that kept their logo playing in digital!

------------------
And, hey! Let's be careful out there.

 |  IP: Logged

DTS vs DD WIDESCREEN listening test - that happened years ago and there has not been one since. As far as us "fudging" levels, that never happened. We match the *master* mix, PERIOD.

DTS 16mm is available and is used by mostly student film makers.

The DTS (5.1) sub is not a discrete channel in that it is put into the surrounds and then is filtered out (80Hz and below) by the DTS player. At that point the sub channel is delivered to a separate output channel. That is why you will hear a small amount of sub info (above 80Hz) in the surrounds.

We realized not getting discs is a continuing problem for "second run" theaters. Whenever possible and the studio agrees, we send discs to theaters that tell us no discs arrived with the print. Most times, we can over-night discs.