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This topic comprises 8 pages: 1 2 3 4 5 6 7 8
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Topic: Interstellar and fader 7
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Marcel Birgelen
Film God
Posts: 3357
From: Maastricht, Limburg, Netherlands
Registered: Feb 2012
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posted 11-18-2014 10:27 AM
quote: Carsten Kurz
I don't think the audience has a 'right' to understand every single word in a movie. They have a right for a top-notch presentation.
But the artistic expression of the creative people making the movie is an offer, not an obligation.
Although the audience doesn't have the "right to understand every single word", it doesn't imply the audience doesn't have a right to complain. I agree to what seems to be the majority at this point: This sound mix has issues.
I've seen this thing about three and a half times now, one of the showings was an OV show without subtitles. In that show, literally everybody had issues understanding the dialogue at one point or another. The fact that one of the right front channel amps died halfway trough the show wasn't helping (people were offered a refund, although most didn't even notice...), but it didn't affect the center channel, it primarily messed up Hans Zimmers pipe organ fest.
I guess nobody will always understand every single word in each and every movie, your mind usually is sufficiently capable of filling in the gaps. The problem though, if this is happens repeatedly, it becomes distracting. People start to overly focus on what people are saying, trying to figure out the words that make up the dialogue.
Also, it leads to many complains, people that are asking you to fix the sound. You can tell them: It's the way the director wanted it. You do not only sound stupid if you tell them this, but you cannot really blame them asking for a (in their mind) perfect presentation from you.
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Noah Katz
Film Handler
Posts: 4
From: Santa Monica, Ca
Registered: Oct 2012
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posted 11-19-2014 05:06 PM
Of course everyone has a difference of opinion. I will say that in a perfect world, 7 in a cinema should accurately reflect the reference sound level on a mix stage. As we all know SMPTE is in the midst of doing a complete analysis and overhaul of current cinema audio B chain standards since sadly very rarely do cinemas and dub stages accurately reflect one another.
Having said all that, I did have the pleasure of viewing the 15/70 version of Interstellar multiple times at the TCL Chinese IMAX theatre in Hollywood, California. I personally thought the sound was incredible. I was aware that Christopher Nolan did QC the mix at the TCL Chinese, so I assume I was viewing and listening to the film in the way that the director intended it to be presented and heard. I brought a few friends to see the film with me (all non cinema industry people) and nobody I was with had a problem with the soundtrack or sound levels (Which were played at the reference level)
Sadly there are many people not having this type of positive sonic listening experience with Interstellar at their local theaters, I can only hope that perhaps once the new SMPTE standards for B chain settings are adopted, more theaters will more closely match the Dub stage as well as the Directors intended vision.
Just for everyone to understand, Per the Hollywood reporter article dated 11/16/2014
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Christopher Nolan's Interstellar has rocketed past $300 million at the worldwide box office after its first two weekends.
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Through Sunday, the movie's global total is $321.9 million, including a foreign take of $224.1 million
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Interstellar is doing massive business in Imax theaters around the world, racking up a total of $50 million in ticket sales. In China, the movie shattered opening records for a 2D title ($6.6 million).
http://www.hollywoodreporter.com/news/global-box-office-interstellar-rockets-747521
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Seriously though James Cameron mixes have always been ahead of their time. Aliens is a little dated, but mixing technology wasn't quite what it is today back in 1986. For 1986 mixing abilities (post production time also factoring into this), it was phenomenal. From there it just got better and better.
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