my profile | my password | search | faq & rules | forum home

» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Rogue One low constrast (Page 2)

This topic comprises 2 pages: 1  2

Author Topic: Rogue One low constrast Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 01-03-2017 02:17 PM                     Prices vary with supplier, but they are over $55k USD for the 32B unit new.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 01-03-2017 03:39 PM                     Can we even be sure that every Dolby Cinema installation uses the beefed-up cascaded high contrast light engines (yet)? Even if - Dolby Cinema enables the projection system to utilize very high contrast and color saturation - but if that is not what the director/DOP wants, Dolby mastering can not simply mess with the mastering process to make blacks blacker or whites whiter. After all, Rogue One was shot and produced to imitate the style of the very first Star Wars movie (and did so well in my opinion). Dolby Cinema mastering should not jeopardize that intention. Actually I'm glad about these reports, as it seems Dolby is not overdoing it on the Dolby Cinema releases just to show off the capabilities of their technology. I don't want every movie in Dolby Cinemas to look like 'Inside Out'. - Carsten  |  IP: Logged Bill Brandenstein Master Film Handler Posts: 413 From: Santa Clarita, CA Registered: Jul 2013 posted 01-04-2017 03:50 PM                     quote: Carsten Kurz After all, Rogue One was shot and produced to imitate the style of the very first Star Wars movie (and did so well in my opinion). "Rogue" in Imax 70mm is an exceptionally dark movie until the final quarter. The homage shown to Episode 4 struck me as fitting and enjoyable, no disagreement there. But back in '77 I don't remember ever wondering when they were going to finally open an aperture and throw some light on the screen. So "low contrast" IS an issue in the sense that many early sequences have a light-value range that stays quite low, and some of them are strikingly grainy or fuzzy as well (this varies). The dimmest moments are so exceedingly dark that I presume that no visible image could be seen along the film unless illuminated by a very bright light source (compliments to Kodak). It's as though the producers planned a sort of visual crescendo to give the final battle sequence and associated white-out moments greater visual impact. And it IS visually stunning. I just wish some of the beginning scenes didn't look so inferior.  |  IP: Logged

All times are Central (GMT -6:00)

This topic comprises 2 pages: 1  2

Printer-friendly view of this topic

Hop To: Select a Forum: Category: Operations -------------------- Digital Cinema Forum Film Handlers' Forum Large Format Forum Ground Level Feature Info, Trailer Attachments & REAL Credit Offsets Category: Community -------------------- Film-Yak Film Handlers' Movie Reviews The Afterlife Bob Maar's Joke-A-Thon Category: Classified -------------------- Equipment and Supplies Wanted/For Sale Help Wanted/Seeking Employment Category: System -------------------- Software Beta Testing Forum

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.