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Topic: Interstellar locations running in 70MM
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 11-06-2014 04:33 AM
Haven't seen it yet, but the anticipation of seeing it in 15/70 is overwhelming.
DTS didn't start off as a format for 70mm, but primarily for 35mm which always had a "backup" analog track along with the DTS code, so there was no real reason not to design it so if code was lost it would always drop back to the omnipresent analog tracks. Thing is, DTS could just as easily configured it to just free-float over any lost code intervals. 70mm became a different ball of wax given its lack of any track other than the DTS code. Same thing with its application to 16mm -- there it replaced the entire analog track, putting in a big fat version of the DTS code filling the analog track space completely. That made it so robust that the changes of it dropping out were practically non-existent
But back to the drop-to-analog issue -- thing is, DTS is perfectly capable of using its own internal sync to "float" over long stretches of lost filmcode and play just the digital audio like any CD or DVD player does and keep relatively constant speed. When code returns, no matter where the DTS disc is playing, which would never be very far off anyway, it would come out of drop-out mode and lock to code just the same as it does when it switches from analog backup back to digital.
I once was able to sync an entire reel of a mono print of THE BELLS ARE RINGING to the DVD stereo track. Amazingly, it played in sync for the entire reel, a good 16 minutes and never slipped out of lipsync.
My guess is, it would probably have been a much better solution if DTS would have designed it so that if the reader lost filmcode, instead of dropping to the analog track, they should have just let it drop to internal line sync and float over the lost code, keeping the digital audio all along. It certainly would have been much less jolting a change keeping the digital audio playing instead of switching to an analog track and letting the audience hear that immediately apparent difference in quality. No doubt in many places the analog system was sorely neglected once the digital equipment went in and the change from DTS to analog was like day and night. It was a disaster when those dropouts were repetitive throughout and entire reel as I once heard and the reversion to analog sounded like stuttering. What made it even worse, the "projectionist/manager" evidently didn't see the necessity of forming the bottom loop carefully -- "hey, we got digital...we don't need no stinkin analog tracks" -- so in addition to the stuttering, in long dropouts, that backup analog was slightly OUT of sync with the image. We heard decent sound in sync/then distorted, MONO sound out of sync/the decent sound in sync/then distorted, MONO sound out out of sync...you get the picture. Simply allowing the digital to floating over those bad code patches would have been a much better solution, IMHO.
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