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Author Topic: DCPs with 1.33 or 1.37 Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 09-11-2013 10:03 AM                        quote: Scott Norwood That is 18 formats. What else is there? 3D? Something else? VistaVision had a native aspect ratio of around 1:50.1, although AFAIK there weren't any features that were actually intended to be shown in that shape.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 09-11-2013 06:55 PM                     Scott -- 3D and SD. We usually need to zoom those down. DCP (2D) 1.33 1.37 1.66 1.78 (??fL) - DCP's of "HD" content 1.78 (14fL) 1.85 1.90 (full container) 2.20 (in 1.85) 2.39 DCP (3D) 1.78 1.85 2.39 HD 16x9 4x3 - large (full height) 1.66 For HD, I created those variations to accommodate the pillar-boxed formats because they require a custom screen file to conceal keystone, as well as a lateral lens shift because my projector is not exactly on the center line. Thus far, I have not found it necessary to create separate presets for letter-boxed content, especially since subtitles often extend into the letterbox area. (We show a lot of foreign film with subtitles.) I let image width determine which preset I will use. SD 4x3 - medium (about as large as we can show SD material) 4x3 - small (for "iffy" SD content, especially VHS) Letter-boxed SD content is not zoomed. (It is masked, though.) And then there are a few preset buttons that aren't populated with true presets. That is, they only change the screen file. I find this useful for shorts programs, which often jump back and forth between AR's. This lets me conceal keystone without constantly needing to pause in order to execute a full preset change. The screen file changes instantly.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 09-12-2013 09:38 AM                     There are the 3Ds...one has to allow now for 24, 48 and 60fps. The 2K and 4K versions of 2D DCPs...if you don't have separate 2K and 4K versions, you can run into subtitle issues on a 4K projector.  |  IP: Logged Michael Coate Phenomenal Film Handler Posts: 1904 From: Los Angeles, California Registered: Feb 2001 posted 12-23-2013 04:48 PM                     quote: Leo Enticknap I've never noticed the credit windowboxing trick done by any other DVD or BD label. There are several labels that do it (but you're not likely to notice it if your monitor has overscan). Disney, for instance, even in the Hi-Def era, continues to windowbox the opening and/or closing credits of some of their Academy-shot animated titles. I recently checked my Blu-ray Disc collection and found the title sequences on Snow White and the Seven Dwarfs and Cinderella are windowboxed. To illustrate how inconsistent Disney is with this sort of thing, I found the opening title sequence is not windowboxed on Alice in Wonderland, Bambi, Dumbo or Peter Pan. I don't own Pinocchio or Fantasia on Blu-ray, so I cannot comment on those. Inexplicably, the closing credits of the Blu-ray of (the non-Academy title) The Lion King are windowboxed ever so slightly.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 12-24-2013 09:55 AM                        So, my 16mm DCP came back as 1.33. Pixel dimensions are 1440x1080. This was made from an HDCAM tape at one of the "big" labs. There is actually a different issue now, which is that the side pillars are grey and not black. This seems to be an issue with video using a 16-235 scale to represent brightness and D-cinema using a 0-255 scale. This will be a "fun" phone call next week.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-24-2013 01:05 PM                     Set up a PCF that is to be used with your movie that has the right range...people will love you for that  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 12-24-2013 05:42 PM                     Also, basically every projector SHOULD have electronic masking to get the pillar boxes black. I know most installers only setup masking for the three common formats routinely. - Carsten  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 12-24-2013 11:16 PM                        WB has been doing this strangeness for decades -- in their Loony Tunes collection on laserdisc, some of the cartoons open as you'd expect, full frame Academy, but others, for some inexplicable reason, have the opening WB concentric circles logo and the opening music in a pillared/letterbox -- correct aspect ratio but smaller and within the actual TV 1.33:1 frame. WTF?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-25-2013 07:33 AM                     I carry with me screen files for all of the formats I've come across and typically load them in, even if a specific projector preset isn't going to be set up...think of them as pre-cut aperture plates. I agree Carsten. I also know that the reality of mainstream cinemas is that often nobody is in the booth and things need to be more "standard" so Flat and Scope is what most can deal with. For our special venues, they get all of the formats they may run custom set up. I also tend to clear out all of the channel, title, macros that they are not set up to use...It keeps the confusion level down. Also, if you have a server like Dolby that polls the projector...it won't show up with a bunch of cues that don't apply to the installation. One thing I like about NEC is if you delete a title off of a preset button...the white LED for that button number goes out.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 12-28-2013 03:04 PM                        Frank--my only guess on that is that maybe the opening and closing titles were made without regard to the "title-safe area" and whoever transferred the film to video wanted to make sure that none of the titles were cropped due to overscan. That is sort of a weird way to solve that problem, though. In any case, just be thankful that they didn't stretch or crop the whole thing to 16x9. As for my own DCPs, they are being re-done by the lab. We'll see what happens.  |  IP: Logged Jason Metcalfe Expert Film Handler Posts: 134 From: Austin, TX, U.S. Registered: May 2010 posted 12-31-2013 01:34 PM                     Recently saw the windowboxed titles and credits on a bluray of It's a Wonderful Life  |  IP: Logged Jock Blakley Expert Film Handler Posts: 218 From: Melbourne, Victoria, Australia Registered: Oct 2011 posted 01-01-2014 06:09 AM                     We ran the Universal-issued DCPs of HORSE FEATHERS and DUCK SOUP a few days ago and both have windowboxed opening titles. I've also seen it on a lot of Warner DVDs. These two DCPs also had the current Universal tag on the head (in B&W at least, but still) and after the windowboxed material was done had the feature at almost 1.66 width. Nicely done.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 01-28-2014 07:41 PM                        Ah-ha! The lab has confirmed that I was right about my DCPs being made with the wrong luminance range. To their credit, they apologized and are making new DCPs. The issue extended beyond just grey side pillars--the picture looked washed-out, too. I am inclined to believe that this may end up being a problem in the future, though, with filmmakers and videomakers who have HD-to-DCP conversions done (my films went from 16mm->HDCAM->DCP; there was no DI, which would have been the preferable (and much more expensive) way of producing a DCP from film). No doubt this will start to be an issue at "film" festivals. The irony of this whole thing is that my 35mm blowups look amazing and that the cost of shipping out a 35mm print (film print, reel, shipping case) of one of these shorts is less than the cost of shipping out a DCP (hard disk, CRU carrier, CRU USB adapter, and Pelican case). Yes, I know that this is a special case for a short film, but still somewhat amusing and depressing.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 01-28-2014 08:16 PM                     For some shorts, we have had filmmakers email us with a URL and a temporary password. No shipping there.  |  IP: Logged Francois Bouzigues Film Handler Posts: 19 From: Barcelona / Spain Registered: Dec 2013 posted 01-29-2014 05:45 AM                     All formats smaller than 1.85 can use the same PCF. You just have to adjust masking depending on the parrallax you may have in your theater.  |  IP: Logged

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