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Topic: Interstellar locations running in 70MM

Geoff Jones
Jedi Master Film Handler

Posts: 579
From: Broomfield, CO, USA
Registered: Feb 2006

posted 11-02-2014 06:03 PM

Another small note about the film - apparently the surrounds are not very aggressive.

quote:
The most important thing, [Nolan] said, was the volume; he wanted a lot of simple power, and all of it coming right out of the screen. He didn’t put a lot of surround in the mix, because he didn’t want a lot of distraction from the sides.

http://www.nytimes.com/2014/11/02/magazine/the-exacting-expansive-mind-of-christopher-nolan.html

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Terry Lynn-Stevens
Phenomenal Film Handler

Posts: 1081
From: Toronto, Ontario, Canada
Registered: Dec 2012

posted 11-02-2014 06:57 PM

quote:
Another small note about the film - apparently the surrounds are not very aggressive.

quote: The most important thing, [Nolan] said, was the volume; he wanted a lot of simple power, and all of it coming right out of the screen. He didn’t put a lot of surround in the mix, because he didn’t want a lot of distraction from the sides.

I don't know why this needs to be stated in an article, it simply takes away from the magic of the movies. People should go into the cinema and then draw their own conclusions.

As for his ambitious 35/IMAX film experiment, I really hope it goes well. There will be about 240 screens that run the movie in film, that leaves over 4000+ digital screens without any push from the director. Good thing he checked the sound at a few 35mm facilities but the vast majority of people (97%) will see the movie in digital and that last thing an average moviegoer (usually those are the people that could care less about film/digital) needs to hear is that they should see it in film, but they then realize they can't, so maybe they just won't.

Looks like the early reviews are good to positive but this movie is no slam dunk from what I am reading. This movie with its 169 minute run time, hyped up film push, not outstanding reviews and upcoming competition will really need the word of mouth to work in its favor.

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Geoff Jones
Jedi Master Film Handler

Posts: 579
From: Broomfield, CO, USA
Registered: Feb 2006

posted 11-02-2014 07:29 PM

I'm glad to know this. It will keep me from thinking that the theater has screwed something up if I don't hear a lot from the surrounds.

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Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001

posted 11-02-2014 09:12 PM

I'm not too surprised by comments that the Interstellar mix is front heavy. Aside from any philosophy of not wanting the sound mix to distract viewers from the screen, Nolan shot a significant amount of the movie in IMAX film format. IMAX theaters, at least in their current configuration, are not very good in terms of surround sound quality. By putting most of the sound behind the screen the surround limitations of those giant screen IMAX theaters won't be quite so noticeable.

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Jarod Reddig
Jedi Master Film Handler

Posts: 513
From: Hays, Ks
Registered: Jun 2011

posted 11-02-2014 11:29 PM

Man Buck that would be awesome to road trip down there!! It would be a blast!! Unfortunatly my schedule wouldn't permit it. [Mad]

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Terry Lynn-Stevens
Phenomenal Film Handler

Posts: 1081
From: Toronto, Ontario, Canada
Registered: Dec 2012

posted 11-03-2014 12:04 AM

quote: Geoff Jones
I'm glad to know this. It will keep me from thinking that the theater has screwed something up if I don't hear a lot from the surrounds.

Or maybe it is just damage control by Nolan, anyway it should not matter if you are really into the movie you should not be distracted by whether the surrounds are working or not. You should be totally into the movie.

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Buck Wilson
Jedi Master Film Handler

Posts: 894
From: St. Joseph MO, USA
Registered: Sep 2010

posted 11-03-2014 12:27 AM

Jarod I work 365 days a year and am finding a way! Make it happen! [Razz]

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 11-03-2014 12:58 AM

Printing quality is good and the 70mm cues are hand scribed, so plenty noticeable for that one location running changeover. [Razz]

(It's a joke Steve. I know other rep houses will need the cues.)

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Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000

posted 11-03-2014 02:25 AM

We ran a preview screening of one of the 35mm prints yesterday. The cues were lab cues printed from the IN, and were very faint. Several of the reels ended with very dark scenes, and some of the cues were not at all easy to spot.

If we get one of those prints back again in a few months' time, I'll be very surprised if someone hasn't put Clint Phare cues on it, or worse.

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Marcel Birgelen
Film God

Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012

posted 11-03-2014 03:04 AM

Easy solution: Just use your hole puncher! [duck] [Razz]

Now that we've heard that the sound mix focuses on the front channels, I guess it's true it's just a 5.1 mix?

quote:
He didn’t put a lot of surround in the mix, because he didn’t want a lot of distraction from the sides.

One thing Nolan does need for sure is have his concepts of sound mixes fixed.

If a surround mix distracts, it's either a bad mix or a bad setup.

Besides surround, his total overuse of low frequencies and in-your-face sound effects is missing the point. It's great to have a big boom now and then, but consider his last Batman movie and Inception, those were one constant string of deep rumble and loud sound effects. It defies the benefits of the dynamic ranges modern sound formats have to offer. Play it LOUD when it needs to be loud, but keep it tamed and detailed otherwise.

Also, the almost unintelligible Bane character in his last Batman film is a prime example of his deficiencies regarding sound mixes.

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Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000

posted 11-03-2014 10:33 AM

quote: Marcel Birgelen
Easy solution: Just use your hole puncher! [duck]

That's effectively what a Clint Phare scriber is, if you press too hard.

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Jason Metcalfe
Expert Film Handler

Posts: 134
From: Austin, TX, U.S.
Registered: May 2010

posted 11-03-2014 12:35 PM

70mm cues are hand scribed like Brad said, very easy to see which is nice.

I didn't hear it but apparently there was short DTS dropout midway through R8, did anyone else hear this?

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Marcel Birgelen
Film God

Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012

posted 11-03-2014 12:37 PM

Yeah, those are the "emulsion scratcher" kind... Not that I would want to advertise scratching a print on purpose, but at least they keep the structure of the film itself largely intact. I guess that holes do have some potential to tear in over time.

I've a vague recollection of somebody telling me about actual hole punchers for 35mm. So, I did a quick Google on it and it turns out Arri actually produced hole punchers as cue marking equipment, the post about it lead me right back to this forum actually [Wink]

quote: Jason Metcalfe
I didn't hear it but apparently there was short DTS dropout midway through R8, did anyone else hear this?

A few posts back, Brad had this to tell about it:

quote: Brad Miller
Reel 8 will be interesting. As I was inspecting them I saw the timecode simply disappears towards the end of reel 8A...gone...poof! Then it comes back at the start of reel 8B. I can only hope the dts can "glide" over it instead of dropping to total silence from lack of timecode. Surely it can, as somebody must've QC's this before they made the prints. (Its in the negative that way, so it will affect all prints.)

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Brad Miller
Administrator

Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99

posted 11-03-2014 01:01 PM

Reel 8 played through without issue, despite there being no timecode for a good stretch. No doubt another couple of feet of film it WOULD have dropped though. I think they got really lucky.

That being said, all through the movie there are awkward drops to total silence. I don't understand why.

This is a proper example of sound design in the film...people are in their spacecraft and talking. Lights are beeping. There is ambient sound of the room. All of a sudden a hole bursts in the spacecraft and the camera changes to an external shot...SILENCE! In space there is no sound, so this makes total sense.

This is a WTF example of sound design in the film...people are in their spacecraft and talking. Lights are beeping. There is ambient sound of the room. Then there is a shot of the outside of the spacecraft...SILENCE! So far so good right? This makes sense. Then they go back to a shot inside the spacecraft...SILENCE! WTF??? Then they cut to another angle inside the spacecraft...ambient noise is back. This made no sense at all and gave the impression there was a dropout on that shot, but there were no dropouts. I sat there and watched one of my 70mm prints and the timecode never blipped nor did the sound drop during those examples.

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Bobby Henderson
"Ask me about Trajan."

Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001

posted 11-03-2014 03:40 PM

How did the "Starts Friday" ads look in the Sunday newspapers of cities playing Interstellar in 70mm?

I was in St. Louis late this past week and through the weekend because of a civic club convention. Traveling on I-44 all freaking Sunday eliminated any chance of picking up a National edition of the Sunday New York Times. I really wanted to see how the Interstellar ad looked in that paper, mainly to see if they revived some of that 1980's ad style with a full 1 page or 2 page ad and a big familiar 70mm logo.

If anyone has yesterday's Sunday editions of the NY Times, LA Times or Sunday papers from Austin, Toronto or other cities showing Interstellar in 70mm please check them for those ads. Please share images of those ads here or in a thread the moderators find more appropriate.

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