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Author Topic: Digital sound fixes Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 08-10-2006 11:30 PM                        For what it's worth -- I filled out and mailed one of those the day we installed our CP650. I have yet to receive anything. I called our friendly dealer and they apparently were going to try to light a fire under somebody -- but still nothing. We haven't gotten any marquee slides or anything else either. It's been 6 months and I'm getting sick of the "train" trailer, which came with the unit, but I wait patiently. As for DTS's "list" -- that's probably the mailing list for the trailer disks. If you email Karen H. (assuming she still works there) she will mail the posters, trailers etc. to you.  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 08-11-2006 01:06 AM                        For Dolby, I'll try the form. For DTS, I'd like to have an email addy. Since I've started working there, we've had no sound format promotional materials. No trailers, no posters, no marquee inserts, no mylars, no plaques, nothing. Even the newpaper ad doesn't show the sound format, just has "Dig." on the digital houses plus one that's not. And the only DTS trailer discs is only one, that we borrow from the other house which only has 1 DTS screen and gets like 2 or 3 discs. But we have 4 DTS houses, though I did find out our DTS units will read RWs. Not going to say more on that. I would like to mention to anyone from DTS, I'm trying to get real honest discs from you. But anyhow, the email?  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 08-11-2006 01:30 AM                     If Karen Hultgren still works there her address is: ...deleted because it is rude and against site policies to post people's email addresses here so they can be pickedup by spambots to flood her email with spam I only post it publicly becuase she used to post it in all of her messages when she was active here. [ 08-11-2006, 05:38 AM: Message edited by: Brad Miller ]  |  IP: Logged Dustin Mitchell Phenomenal Film Handler Posts: 1865 From: Mondovi, WI, USA Registered: Mar 2000 posted 08-11-2006 05:19 AM                     Charles, do you still work for a Carmike theatre?  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 08-11-2006 09:38 AM                        Negative, I work for Regal now. Though I still do keep touch with a couple of buddies at Carmike. If I'm suspecting corretly, you're maybe about to suggest I go through Carmike to aquire those materials? You would be correct. Carmike submits the reqests for its theatres up to their full allowance by THX, DTS, Dolby, etc, and stockpiles it until a theatre requests the materials. However, I think regal just has their theatres order direct.  |  IP: Logged Dustin Mitchell Phenomenal Film Handler Posts: 1865 From: Mondovi, WI, USA Registered: Mar 2000 posted 08-11-2006 04:04 PM                     Well, yeah, that and if you were a Carmiker I would have sent you some we have laying around the booth .  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 08-13-2006 02:50 PM                       quote: Mark J. Marshall My understanding is that Dolby does hold the license on the area between other sprocket holes as well Mark, I've heard this, too. What I don't understand is, just WHO is the almighty one granting title to film stock real estate!?  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 08-13-2006 03:01 PM                     Actually it is a patent on placing data and information inbetween the perferations that they hold  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 08-13-2006 03:45 PM                       I thought it was something like that, Gordon, thanks. Other than their particular method of placing data (i.e., the little blocks of "snow"), I wouldn't think a stake could be claimed on something like a particular area of the film. I don't see how that could be patentable. I mean, how can anyone "own" 35mm film, it's dimensioning, or layout? No one has those rights to confer.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 08-13-2006 04:41 PM                     Ah but it is more than lettle blocks of snow...think about it compared to all other forms of digital on film...Dolby is the sole one that has has it start/stop and uses the perforation to set its WTW level. So the perforation thing can directly or indirectly (by merely patenting a digital reading method by using blocks of data that need to be reassembled) kinda give it all to Dolby. The perforations merely facilitate their system.  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 08-15-2006 08:43 AM                    Tim, I think of it something like this... If you license Dolby Digital for your movie (who wouldn't), then they require through their license (and thusly "tie up") the area in between the sprockets on both sides of the film, even though they aren't using both sides. By doing that, they make sure you can't also license another system that requires the area on the other side if you're licensing their system on your film.  |  IP: Logged Patrick de Groot Expert Film Handler Posts: 161 From: Sprang-Capelle, Netherlands Registered: Apr 2001 posted 08-16-2006 03:50 PM                     quote: Gordon McLeod Actually it is a patent on placing data and information inbetween the perferations that they hold Ah, the American Patent System. Woohoo! Well, you can always find worse examples of patents in the software area.  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 08-18-2006 11:12 AM                       Steve and Mark: Yes, perforations are integral to the system, as covered in their patent, I'm sure, but that still doesn't explain to me how they can claim exclusive rights to film real estate. What I'm saying is, the area between the sprocket holes is not theirs to "own" - nor no one else's to give away - if you get my point. For example, let's say I print DD films at my lab (being the good, full-service lab that I am), but I want to print smiley faces in that area of non-DD films, to show that the prints came from Happy Labs. I don't see how a patent can confer the right to Dolby to say that I couldn't do that -- and have it stand up in court.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 08-18-2006 03:03 PM                     Actually I believe they patent claim is for "information placed between the sprocket holes" whether it be digital data or smiley faces I think it is classed as information I know that several labs wanted to place printer and negative information there (for post lab quality control) and were told that it would require a royalty to dolby to put information there  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 08-18-2006 05:02 PM                     No Gord, Tim is right on that...Dolby doesn't control the real estate, just the method of encoding the digital audio there. There are "tick" marks in that area...Agfa printed their name in that area. Those that felt the need to place information between the perfs or on the edges have gone to printing only on the magenta layer so as to be invisible to digital readers of the particular formats. Steve  |  IP: Logged

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