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This topic comprises 4 pages: 1 2 3 4
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Topic: Rick McCallum, Star Wars producer on the expected film presentation of Episode III
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 12-16-2004 05:34 AM
quote: Mattias Ohlson
Why am I not getting treated to Vision Premiere every time I visit the movies?
The distributor decides whether to print using Kodak VISION Premier Color Print Film 2393. Among the films that used Premier are "Gladiator", "Minority Report", "The Incredibles".
If your theatre consistently has poor black levels, they need to work on "Conquering Contrast Killers":
Conquering Contrast Killers
quote:
Hopefully, this article helped identify factors in your theatre that will improve
screen contrast, to deliver the sharp, vibrant images that only film is capable
of delivering today. By showing the full contrast range available on today's
films, you can assure that the filmmakers' vision and artistry is put on your
screen in its entire visual splendor. So, go conquer those contrast killers now.
quote: Mattias Ohlson
You once commented on the effect that light can spread side ways in the film and not just straight through. Do you have any graph or numbers on this effect?
I think you are referring to the issue of a misaligned lamphouse, as discussed in my article.
quote: John Hawkinson
John P., do you know how dark bleach bypass can get? It wasn't obvious from the 5222 or 5231 curves, because they don't go to the right of 0...
"Silver Retention" processes vary, but potentially could add about another 2.0 density to the overall density of the black areas. A 6.0 total density would mean only 1/1000000 of the light can get through the black areas.
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Thomas Procyk
Phenomenal Film Handler
Posts: 1842
From: Royal Palm Beach, FL, USA
Registered: Feb 2002
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posted 12-16-2004 12:43 PM
quote: Bobby Henderson
Please note, all the problems Brad listed can occur in a digital projection setup. They're not exclusive to film.
Yep! Seen it happen. In fact, when some or all of those factors affect a digital presentation, the distractions are even worse.
Last DLP show I saw, the image was cockeyed. Same as if someone hadn't closed the lens turret all the way or siply moved the projector out of alignment. The left side of the screen was quite a bit out of focus and had a black bar on the left, while the right side was sharp as a tack, but bled over onto the curtains.
The side that was out of focus also showed HORRIBLE convergence problems. Reds bled to the right, blues bled to the left... a total mess. I noticed this on my home 3-panel LCD projector when I defocus it, too. The colors "split apart" at the edges of objects onscreen.
Not to mention, the lamphouse was misaligned and had a bad flicker. This was especially irritating in DLP since everything else on the image is rock-solid.
Oh, and the movie crashed and they had to reboot the server... on-screen!
To me, occasional dirt specks are much easier to ignore than convergence issues.
=TMP=
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 12-16-2004 01:36 PM
quote: Steve Kraus
I was talking recently with the editor of a major film about to be released with prints with significant silver retention and I asked if the stock was Vision Premiere and he said no for that degree the standard Vision stock works better.
It really depends on the "look" the director and cinematographer want. Silver retention processes have been done with both 2383 and 2393 -- of course, 2393 already is higher in contrast and has much "richer" blacks to begin with.
Cost is also a factor, as both "silver retention" and Kodak VISION Premier Color Print film cost somewhat more than "normal" print film and processing. The 2393 has significantly more silver and dye-forming couplers, so it costs more to manufacture.
quote: Thomas Procyk
Last DLP show I saw, the image was cockeyed. Same as if someone hadn't closed the lens turret all the way or siply moved the projector out of alignment. The left side of the screen was quite a bit out of focus and had a black bar on the left, while the right side was sharp as a tack, but bled over onto the curtains.
The side that was out of focus also showed HORRIBLE convergence problems. Reds bled to the right, blues bled to the left... a total mess. I noticed this on my home 3-panel LCD projector when I defocus it, too. The colors "split apart" at the edges of objects onscreen.
Not to mention, the lamphouse was misaligned and had a bad flicker. This was especially irritating in DLP since everything else on the image is rock-solid.
Oh, and the movie crashed and they had to reboot the server... on-screen!
And so what did the theatre manager say when you complained about the lack of presentation quality? (You did complain, didn't you?)
Like you, I've certainly seen Digital Cinema presentations with contrast and tone scale issues. I've also documented a complete failure and having to go to a back-up film print for the "Digital Hiccup" problem with the Digital Cinema presentation of "Ice Age" at the AMC Empire 25 in NYC.
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