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Topic: Interstellar locations running in 70MM
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Carsten Kurz
Film God
Posts: 4340
From: Cologne, NRW, Germany
Registered: Aug 2009
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posted 11-06-2014 06:33 AM
The problem with film-based DTS is certainly that you can not expect the master, the projector, to run nearly as stable as the digital clock in the player. While the player may indeed be able to run for very long periods without much drift, the projector will not. Also, there will be time-code glitches at reel changes, so, sooner or later, it would certainly run out of sync.
For the DTS-6D, the default drop-out according to the manual is six seconds, that is not much. However, it may be possible that DTS could have individual programming for features without a fallback format. Maybe the DSV allows for longer breaks.
Then again, long passages without any timecode were not really typical operational conditions, either the print is bad and needs to be replaced, or the reader is bad and needs to be adjusted or replaced.
- Carsten
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 11-06-2014 11:52 AM
quote: Carsten Kurz
For the DTS-6D, the default drop-out according to the manual is six seconds, that is not much. However, it may be possible that DTS could have individual programming for features without a fallback format. Maybe the DSV allows for longer breaks.
My understanding is that the program code used to decode the audio is actually on the CD rather than the firmware of the unit (the dts.exe file), and loaded every time a CD set is booted. If that's the case, then presumably it's possible to have a bespoke "maximum run wild time" setting for each individual show, and that for 70mm shows with no separate backup audio format, Datasat is encoding that to be a lot longer than 6 seconds. In fact, in the case of 70mm, I can't think of any argument against letting the sound run wild either until the end of the movie or until it can read a timecode again.
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Connor Wilson
Expert Film Handler
Posts: 190
From: Sterling, VA, USA
Registered: Jan 2011
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posted 11-06-2014 04:32 PM
I actually went out with a friend to see Interstellar at Angelika Mosaic last night. They screened a 35mm print and had Dolby SRD installed. The projectionist last night I believe was Andrew Jorgenson (I hope I spelled your name right) and the print was pristine with just about the tiniest of scratches. For the most part, a normal person could mistake it for a digital show, or wouldn't know the difference. Aside from some framing issues, it was a clean presentation.
Interstellar has, I believe, the greatest sound mix in a Nolan movie yet. During the loud parts, I was able to understand 90% of the dialogue (two or three lines I only felt were obscured). What really impressed me, considering the complaints on the Internet, there was a segment that lasted 40-60 seconds in either Reel 5 or 6 (I'll refrain from spoilers) which had an enormous, loud, deep LFE bass that just keeps going, and going, and every little bit of dialogue, sound effects, and music was heard clearly during the aural quake.
I don't really blame Nolan on this, I would blame IMAX for their speaker system sounding as the equivalent to what a flat-screen TV's Dynamic or Vivid setting looks like.
35mm Picture & Sound quality: A
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Marcel Birgelen
Film God
Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012
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posted 11-06-2014 06:40 PM
quote: Scott Norwood
Interestingly, many cinema projectors run at pretty much dead-on 24fps (long story, but I have actually tested this), so DTS running without timecode would probably be just fine even for a minute or so.
I found out that lip sync issues already become apparant at about +150 or -150ms, at least for me. It becomes really annoying around 200ms. But for other sharp sound effects like gunshots, closing car doors, etc. it can be as low as -100 or + 100ms. Sound coming before the action is even more distracting than sound coming after the action. I guess our brain is already accustomed to the fact that sound propagates much slower than light and not the other way around.
This margin seems sufficiently wide, but a mechanical beast like a projector will have considerable amount of jitter in its system. Combine this with the sync error that's probably already present, you might run into problems sooner than you think. For example, if you lose or gain 0.1ms per frame (which would be an error of 0.24%), you're already at about 100ms within 1000 frames which would be close to 42 seconds.
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