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Author Topic: Nice 35mm Dolby SR sound Pre. SRD/DTS/SDDS Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 10-12-2018 09:53 PM                     After tonight‘s screening I definitely want to add „BRAM STOKER‘S DRACULA“ (1992) to the list of excellent Dolby SR tracks. (Seems that there were also Dolby A prints available)  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 10-13-2018 10:27 AM                     What type of soundtrack reader? Specifically white exciter, infrared, red?  |  IP: Logged Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 10-13-2018 02:31 PM                     Kinoton Reverse Scan.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 10-13-2018 07:50 PM                     I presume Kinoton never made infrared scanners? I don't know, but the real question is was that red light on the silver track? I've always thought red light readers on older silver tracks sounded bad.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 10-14-2018 08:13 AM                     It varies on red light with silvered/doped tracks. Some sound fine, some sound harsh with Crossmod distortion (sound like the signal is clipping). It really is all over the place. I don't know if Kinoton ever had IR readers (we never sold any from the factory that way) but we have put IR LEDs in for sites that cater to classic titles.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 10-14-2018 08:23 AM                     True Lies 35mm SR is absolutely spectacular... Way better than the SRD digital track. Same on The Fugitive. Mark  |  IP: Logged Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 10-14-2018 10:14 AM                     I second what @Steve said. With some (actually I have the impression: with most, at least the ones we have played) it works fine, others sound distorted. But then again, I frequently test those with my exciter lamp setup I have at home (same processor) an usually they also sound somewhat harsh using the oldfashioned Philips Macro Soundhead with exciter lamp on my Philips FP56.  |  IP: Logged Jerry Axelsson Expert Film Handler Posts: 107 From: Stockholm, Sweden Registered: May 2005 posted 10-15-2018 01:05 AM                     I agree that THE FUGITIVE is really nice in SR. Another nice SR print was SHINING THROUGH (1992). If my memory serves me right, CAPE FEAR and THELMA & LOUISE were nice in SR also.  |  IP: Logged Marcel Birgelen Film God Posts: 3357 From: Maastricht, Limburg, Netherlands Registered: Feb 2012 posted 10-15-2018 01:40 AM                     quote: Brad Miller Florian - what makes you think T2 was on polyester stock? Have you personally handled one and know for a fact it was? I would be shocked to hear that unless maybe the print you handled in the Netherlands was dubbed and printed on some non-Kodak stock at a lab in your part of the world. I also remember the Dutch subtitled T2 prints to be on polyester, I guess that was a choice of the local distributor. There is no Dutch dubbed version, no Hollywood releases get dubbed in the Netherlands, unless they're targeted at children.  |  IP: Logged Thomas Hauerslev Master Film Handler Posts: 451 From: Copenhagen, Denmark Registered: Aug 2000 posted 10-15-2018 02:08 AM                        "Adventures of Ford Fairlane" in 35mm Dolby SR - amazing soundtrack. "Streets of Fire" & "Amadeus" also wonderful in Dolby A  |  IP: Logged Bill Brandenstein Master Film Handler Posts: 413 From: Santa Clarita, CA Registered: Jul 2013 posted 10-17-2018 10:14 PM                     quote: Mark Gulbrandsen True Lies 35mm SR is absolutely spectacular... Way better than the SRD digital track. Same on The Fugitive. Mark Permit me to be slightly OT. "The Fugitive" was an early SRD title. Back in the '90s, we used to use a cut from The Fugitive as a home theater demo. Sourced from laserdisc, it had a great-sounding digital matrix track that perhaps would have been the same as the Lt/Rt master used for the SR print tracks, but we never heard it in SRD. Then the DVD came out, and with great anticipation, we finally heard it in its "legit" Dolby 5.1 mix. BORRRINGGG! Playing the laserdisc sound through the Pro Logic matrix resulted in so much wide stereo information to the left, right, and rear, the train wreck was FAR more immersive and impactful than from the "discrete" mix. This, in spite of being nominated for the best sound Oscar that year, and winning it from the BAFTA and CAS awards. Maybe the voters heard it in SR! So, if you will, please humor me: how many of these great-sounding SR tracks are due to matrix decoding "leakage" that just happens to sound sweeter than a less aggressive 5.1 mix?  |  IP: Logged Jerry Axelsson Expert Film Handler Posts: 107 From: Stockholm, Sweden Registered: May 2005 posted 10-18-2018 12:57 AM                     Interesting observation Bill. The Fugitive is really sweet in SR.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 10-19-2018 12:23 AM                     Eh, I don't know. When I watched The Fugitive for the first time I watched it at the Cinemark Hollywood USA theater in Garland, TX on its best THX certified screen. The theater was equipped for Dolby Digital. I remember watching the original controversial cut of The Program in the same auditorium only a couple months later in SRD. A certain very stupid dramatized stunt involving college kids laying on the center line of a highway got reenacted with tragic results, which resulted in all release prints being altered and all the home video versions deleting that scene. Anyway, getting back to the topic of The Fugitive, yeah it sounded pretty decent in Dolby SR (it was an advertised THX-Dolby SR show). But I had been spoiled to the rib-rattling dynamics of Jurassic Park in THX-DTS a few miles away at the GCC Northpark 1-2 theater. So I was pretty pissed that the giant sized Dallas-Fort Worth metroplex was deemed unworthy to get a Goddamned Dolby Digital print of The Fugitive despite the fact the damned theater was already equipped to play Dolby Digital prints. I heard all this buzz about how amazing and dynamic the train crash scene sounded in Dolby Digital 5.1. Us folks in this part of the nation had to settle for good ole optical SR. The Hollywood USA theater was one of only two screens in the entire DFW metro area at that time that could play Dolby Digital prints. So it ended being another thing that I liked so much more about DTS. A hell of a lot more theaters were getting equipped with DTS and next to no one at the time was paying the big bucks it took to install Dolby Digital.  |  IP: Logged

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