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Author
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Topic: CDS-Equipped Theatres
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John McConnel
Expert Film Handler
Posts: 118
From: Okmulgee, OK USA
Registered: Nov 2003
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posted 04-08-2007 08:22 AM
Here's another format to be added to the Soundtrack Graveyard:
Panaphonic Sound
It was developed in Norman, Oklahoma, by Dorsett Laboratories. Sound was switched from speaker to speaker by a binary code that was marked into sprocket hole areas, and optically scanned.
In Okmulgee, OK, it was installed in 1953 at the Yale Theatre, and was first used on SALOME, WHERE SHE DANCED, with Yvonne DeCarlo. The Yale's newspaper ad of 10/03/1953 noted that, "Panaphonic sound offers theatre-goers a panorama of sound track reproduction effects which can come from one or more of 10 specially controlled speakers in the theatre."
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Christian Appelt
Jedi Master Film Handler
Posts: 505
From: Frankfurt, Germany
Registered: Dec 2001
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posted 04-08-2007 10:30 AM
The Kinoton format was called HDFS (High Definition Film System) and used a double CD drive, a timecode track on the print and a silent aperture with 1.5x anamorphic compression.
This format ("high definition" maybe compared to an 1.85 print) was proposed by Kinoton and Isco, and there was a demonstration at the 1990 (?) Photokina fair at Cologne. The footage shown was not shot 1.5x anamorphic, (IIRC it was some aerial footage for THE NEVERENDING STORY) and did not look impressive.
The format was referred to as Iscovision a few times, but as far as I know, nothing was ever shot and/or released. Today, Isco use3s the term Iscovision for their 2x anamorphic camera lenses (maybe identical to ArriScope lenses?)
From Wikipedia:
quote:
From Wikipedia, the free encyclopedia
Kinoton HDFS (High Definition Film System) was a prototype 35 mm motion picture film format proposed by German projector company Kinoton and developed with the film camera company ARRI and the Swiss company Studer. The format was developed between 1988 and 1990. It proposed removing the optical soundtrack from film prints, and using the SMPTE 80 bit timecode printed onto the film print, combined with two CD-ROM drives to provide a four channel digital soundtrack. The removal of the soundtrack would also allow more of the film area to be used during filming, increasing the quality.
The format was not adopted.
There is a discussion on AMIA-L lead by John Pytlak (from 2001):
AMIA-L - 1.5x anamorphic format
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 04-08-2007 08:09 PM
John demonstrated some footage shot in this format (1.5x "mild" anamorphic 1.85) a number of years ago at an SMPTE chapter meeting in New York. It was very impressive, and the elegance and simplicity of the system was immediately apparant. As mentioned, on the shooting end, the ideal would be shooting with the same 1.5x anamorphic as we do with 2.39:1 ar for scope releases or super 35mm could also be used and then the 1.85/1.5x release print extracted from it.
But, the big stumbling block was the unwillingness of the exhibitors to invest in an additional anamorphic at some $2000 per screen. That proved to be something exhibitors were not interested in, even if it meant getting better picture quality on their screens.
Interestingly enough, in spite of exhibition's reluctance to spend money on improvements in image quality, somehow the studios have convinced them to invest some $100,000+ per screen for digital projectors which they seem perfecty willing, even happy to do even though that investment does not give them better image quality. Go figure. My only conclusion is that the studios are drugging exhibitor execs and turning them into zombies, who, when they hear the word "digital," go into a catatonic trance and give out the pin numbers to their corporated bank accounts. ![[evil]](graemlins/evil.gif)
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Michael Coate
Phenomenal Film Handler
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 07-06-2011 01:55 PM
Continued from another thread...
What follows is a list of the known Cinema Digital Sound presentations in the United States. This was prepared for an article I had intended to publish last year for the 20th anniversary of digital sound in movie theaters. Note that the data represents the starting point of each engagement. In some cases, the CDS prints at a point in their run were withdrawn and replaced with Dolby prints.
quote: Mike's Research
DICK TRACY (1990, Buena Vista, 70mm)
Los Angeles, CA – AMC CENTURY 14
Los Angeles, CA – GCC BEVERLY CONNECTION 6
Los Angeles, CA – Pacific CREST
New York, NY – Guild EMBASSY 1
New York, NY – Loews 84TH STREET SIX
Newport Beach, CA – Edwards NEWPORT CINEMAS
Santa Ana, CA – AMC MAINPLACE 6
DAYS OF THUNDER (1990, Paramount, 70mm)
Corte Madera, CA – Pacific CINEMA
Lakewood, CA – Pacific LAKEWOOD CENTER
Los Angeles, CA – Mann CHINESE
Los Angeles, CA – Mann NATIONAL
FLATLINERS (1990, Columbia, 35mm)
No known CDS presentations in the United States.
EDWARD SCISSORHANDS (1990, Twentieth Century Fox, 35mm & 70mm)
Dallas, TX – UA PLAZA (70mm)
Los Angeles, CA – GCC AVCO CENTER (35mm)
New York, NY – Cineplex Odeon ZIEGFELD (70mm)
San Francisco, CA – UA CORONET (70mm)
THE DOORS (1991, TriStar, 35mm)
Dallas, TX – UA PLAZA
Emeryville, CA – UA EMERY BAY
La Mesa, CA – Pacific CINEMA GROSSMONT
Lakewood, CA – Pacific REGENCY 8
Los Angeles, CA – UA CORONET
New York, NY – Loews 84TH STREET SIX
New York, NY – UA GEMINI TWIN
Newport Beach, CA – Edwards NEWPORT CINEMAS
Pasadena, CA – Pacific HASTNGS
San Francisco, CA – UA GALAXY
San Rafael, CA – Pacific REGENCY 6
HUDSON HAWK (1991, TriStar, 35mm)
Los Angeles, CA – AMC CENTURY 14
Los Angeles, CA – UA CORONET
New York, NY – UA GEMINI TWIN
TERMINATOR 2: JUDGMENT DAY (1991, TriStar, 35mm & 70mm)
Atlanta, GA – Cineplex Odeon LENOX SQUARE (35mm)
Bethesda, MD – UA BETHESDA (35mm)
Dallas, TX – UA PLAZA (35mm)
Denver, CO – UA CONTINENTAL (70mm)
Emeryville, CA – UA EMERY BAY (35mm)
Fort Worth, TX – UA HULEN (35mm)
La Mesa, CA – Pacific GROSSMONT TROLLEY 8 (35mm)
Lakewood, CA – Pacific REGENCY 8 (35mm)
Los Angeles, CA – AMC CENTURY 14 (70mm)
Los Angeles, CA – Pacific CINERAMA DOME (70mm)
Los Angeles, CA – UA CORONET (70mm)
Marina del Rey, CA – UA CINEMA (35mm)
Miami, FL – UA MOVIES AT THE FALLS (35mm)
New York, NY – Loews 84TH STREET SIX (70mm)
New York, NY – UA GEMINI TWIN (70mm)
New York, NY – UA MOVIES AT SHEEPSHEAD BAY (35mm)
Pasadena, CA – Pacific HASTINGS (35mm)
Princeton, NJ – UA MOVIES AT MARKET FAIR (35mm)
San Diego, CA – UA HORTON PLAZA (35mm)
San Francisco, CA – UA GALAXY (35mm)
San Rafael, CA – Pacific REGENCY 6 (35mm)
Scottsdale, AZ – UA SCOTTSDALE PAVILIONS (35mm)
FOR THE BOYS (1991, Twentieth Century Fox, 35mm)
No known CDS presentations in the United States.
FINAL APPROACH (1991, Trimark, 35mm)
Los Angeles, CA – Pacific CINERAMA DOME
Los Angeles, CA – UA CORONET
New York, NY – UA GEMINI TWIN
UNIVERSAL SOLDIER (1992, TriStar, 35mm)
No known CDS presentations in the United States.
Feel free to discuss if you wish to share memories of attending or projecting any of those or if you have additional information or corrections.
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Brad Miller
Administrator
Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 07-10-2011 10:24 PM
quote: Michael Coate
FWIW...I think the Cinemark circuit's first installation of a digital sound format, in this case Dolby Digital, was in 1992 at their Hollywood USA complex in Garland, TX (Dallas market).
Let me correct that for you...
FWIW...I think the Cinemark circuit's first permanent installation of a digital sound format, in this case Dolby Digital, was in 1992 at their Hollywood USA complex in Garland, TX (Dallas market).
Yes, and it went into #4 as I opened that building. That was also the first time Cinemark put in a large lamp in their CFS consoles (it was either 4000 or 4500 watt). The tech that setup the lamphouses didn't align the lamps properly and even though we had junk test prints, he threaded our brand new SRD print of Aladdin and Leap of Faith and ran them early one morning and burned a hole through every single frame. To add insult to injury, the tech was in the auditorium watching the movie talking about how wonderful it sounded. Well first, it was out of sync, second the room had not yet been tuned. Whatever. ![[Roll Eyes]](rolleyes.gif)
But back to the point, Vista Ridge installed SRD for a day to run an early screening of Pure Country in #8 for that redneck singer whatever-his-name-was.
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