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Author Topic: HUGO 3D in different aspect ratio Chris Slycord Film God Posts: 2986 From: 청주시, 경북도, South Korea Registered: Mar 2007 posted 12-20-2011 12:58 AM                     Yep. Depending on the server, they'll either have a macro that changes masking and lenses (and whatever else needs to be done for their house at start) for them or have a separate cue for each of the items. Though did you mention this to the manager?  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 12-20-2011 02:26 AM                     True, if a complex or company decides to use LS/TMS operations, then they'll have "templates" set up with necessary cues embedded within for each format. Otherwise, when one builds a playlist, the format cue is the first format cue that is to be used in the playlist string after the "Black" cues. ...and sadly, there is no way to tell it on the screen unless you know what to look for since the image isn't squeezed or stretched if the wrong template is used. When you see a "letterboxed" presentation on the screen is when the opposite template is used - a flat template for a scope feature and you know the cinema has adjustable maskings for scope....and that's the result of bad attentiveness to DCP playlist assemblies. Betcha 10 to 1 that one goes and tells the one in charge that the picture is wrong on the screen, a dumb look will be the result from that individual and a "I'll tell the one in charge" will be the reply .. and it stops right there.  |  IP: Logged Mark Hajducki Jedi Master Film Handler Posts: 500 From: Edinburgh, UK Registered: May 2003 posted 12-20-2011 04:47 AM                     It would seem simple enough to make the TMS software read the metadata and flag up when something is being played with the wrong settings.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 12-22-2011 10:52 AM                        So DMD's use letterboxing for scope? They are not using their full pixal compliment when showing scope? Why not use the whole DMD height and anamorphize the image with and appropriate anamorphic lens in projection? With the issue of resolution being such a bone of contention in digital vs. film, one one thing it is stupid to purposely throw away a chunk of pixels on scope titles just to avoid needing to change a lens -- didn't they ever hear of motorized turrets?  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 12-22-2011 12:59 PM                     The scope lenses are about 10 grand I think?  |  IP: Logged Bob Bregazzi Film Handler Posts: 17 From: Hampshie, England Registered: Jan 2010 posted 12-22-2011 01:31 PM                     'hugo' is being shown 1.85 at the odeon leicester sqare, london, uk.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-22-2011 09:12 PM                     Anamorphics are available for DLP but not popular due to the price (about $10K plus the apparatus to move it in/out). They were more popular before the zooms had such a wide range in focal length and before everything was motorized. Personally, I think any commercial theatre that has side masking that isn't using an anamorphic is "doing it wrong." The anamorphic improves the light by about 23%. Note, one does NOT get more resolution...the source image is only 857 pixels tall...scaling them to 1080 doesn't add more information...it just makes the light more efficient. Barco no longer supports the anamorphic on their house projectors though the possibility is there (they have the 3D XLR connector to power/control an anamorphic turret. Christie and NEC both offer anamorphic still though they are in a "while they last" state since they really are not selling well. -Steve  |  IP: Logged

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