posted 05-22-2014 11:07 PM                    

quote: Manny Knowles

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Steve,

Why do you love to pick on me?

As you know, I've complained about the current handling of 70mm titles.

Anyone who doubts this, or needs a refresher, can refer to my comments in the following threads:

Off aspect ratio DCP's

DCP Classic Transfers Good and Bad

70mm DCPs and their formatting

Sound of Music DCP Formatting

In anticipation of my first "restored" 70mm title, I went ahead and created a 2.20 based on full-container width. I also made special cabling and audio presets to accommodate "five across" sound. I've shown several of these DCP restorations/transfers now, and haven't yet had an opportunity to put any of these efforts to use.

So, I'm not making excuses for the studios. I'm pissed off about it, but I've simmered down a bit since this first came up. (This is about the 4th or 5th thread on this subject in the past year or so.) At this point, I'm just trying to explain WHAT appears to be the common approach, and taking a guess at the probable motivation for doing it that way.

That's all.

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I've learned to try and avoid being in the same conversation / thread topics regarding surround sound

quote: Lincoln Spector

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I think of 2.0x1 as a weird orphaned AR. Every few years, it pops up in some strange way, but doesn't stick around.

Fox adopted it for their short-lived Grandeur format in 1929.

In the mid-50s, both VistaVision and SuperScope tried to make it a standard.

And then, of course, there's Vittorio Storaro.

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... oh HE makes me want to shit bricks...