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Author Topic: re-installing 35 for Interstellar? Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 09-17-2014 06:30 AM                     Really? Dolby and Datasat being odd bedfellows? How about USL designing/making the CAT745 for Dolby (Dolby now makes it themselves but that isn't how it started).  |  IP: Logged Ian Freer Expert Film Handler Posts: 135 From: Wellington, New Zealand Registered: Oct 2003 posted 09-17-2014 07:19 AM                     Datasat has already announced it is working with Dolby to include ATMOS in it's top end domestic processor (which is essentially based on the AP20 platform)... http://datasatdigital.com/consumer/info-center/news/2014/datasat-dolby-news.php -------------- Datasat RS20i to deliver award-winning Dolby Atmos for luxury home cinema Tuesday 9th September 2014 Datasat Digital Entertainment, the world leaders in audio solutions for home cinema, has today announced that the award-winning Datasat RS20i home cinema processor will be made available with the captivating, multi-dimensional sound of Dolby Atmos®. The Datasat RS20i is the reference standard for luxury home theater, and with 16 channels of audio processing is ideally suited to bring the experience of Dolby Atmos to the home.Dolby Atmos will be coming to the RS20i through all registered Datasat dealers and distributors in early 2015. --------------- I guess I wouldn't be surprised if Dolby chose not be so forth-coming with licensing for cinema, but then again why not if it improves their market share?... Ian  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 09-17-2014 02:50 PM                     That's nearly an apples to oranges situation. The act of Datasat licensing the consumer version of Dolby Atmos for a home theater surround sound receiver/controller isn't any different than consumer electronics companies like Onkyo and Denon doing the same thing. It's another thing to suggest Datasat incorporating Dolby Atmos functions into a commercial cinema processor. Dolby simply isn't going to let that happen. Dolby is doing things to improve Dolby Atmos data compatibility with other components in a digital cinema sound system, but they're not going to put Atmos into a product that could compete directly against the CP-850. In the case of Interstellar and The Hateful Eight next year, the area that needs cooperation between Datasat and Dolby is syncing DTS 70mm time code with Atmos audio playing in a CP850 or 7.1 surround playing in a different cinema processor. Technology has improved enough that one could literally use the audio in one track to sync audio in another. But you can't do that with a modern 5/70mm print since it's only going to have Datasat time code on it.  |  IP: Logged Marcel Birgelen Film God Posts: 3357 From: Maastricht, Limburg, Netherlands Registered: Feb 2012 posted 09-17-2014 04:04 PM                     On the other hand, the patents (if there were any) on this Datasat timecode must have run out by now, so theoretically, there should be nothing stopping Dolby or any other company from building their own Datasat timecode reader and hook it up to the server, IMB or even directly to the audio decoder. But then again, the market for those devices and software adaptations is so minimal, it probably just won't happen.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 09-17-2014 04:12 PM                     DTS units can output SMPTE timecode. But who is actually thinking that Interstellar will come out with anything else but DD and maybe DTS/Datasat Digital Sound? - Carsten  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 09-17-2014 04:13 PM                     It's not on Dolby's web site (yet), but IMDb has Interstellar down for a Dolby Atmos mix. The movie isn't going to be able to play exclusively on film either, so I would figure it would have LPCM 5.1 and perhaps LPCM 7.1 tracks too.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 09-17-2014 07:57 PM                     Sigg... yes Bobby, of course, but we were talking about 35mm here and some people were suggesting ATMOS locked to 35mm. - Carsten  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 09-17-2014 08:15 PM                     Lately the topic shifted more to 5-perf 70mm, something that would be noteworthy in the Interstellar release. I wouldn't care so much about a theater trying to sync a 35mm print with Dolby Atmos. There's not nearly as much a gain in quality showing 4/35mm versus 2K or 4K d-cinema as there is in showing a 5/70mm print. If they insisted on pairing Atmos with 35mm it wouldn't have to use DTS time code for sync. One could use Dolby Digital data on the print. Or software similar to those Shazam and Soundhound apps could analyze the optical track on the print to maintain sync (that would take more time to develop and implement though).  |  IP: Logged Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 09-17-2014 10:14 PM                        The other thing we have to look forward to when this comes out is everyone griping about the bad quality of the lab work on the prints. The Monday after Interstellar is released, I'll bet there are more gripes about lab work and film damage floating around the internet than there are raves.  |  IP: Logged Terry Lynn-Stevens Phenomenal Film Handler Posts: 1081 From: Toronto, Ontario, Canada Registered: Dec 2012 posted 09-17-2014 10:41 PM                     Mike, how do you know that? The Master in 70mm had no issues when released at the Varisty. It played for 6 weeks before moving on. Also, what gives you the impression that they are going to do a bad print run at the lab?  |  IP: Logged Buck Wilson Jedi Master Film Handler Posts: 894 From: St. Joseph MO, USA Registered: Sep 2010 posted 09-17-2014 11:33 PM                     Because that's what always happens.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 09-18-2014 05:44 AM                     And even if it wouldn't happen, we'd still have the rave about it. - Carsten  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 09-18-2014 06:23 AM                     Most of the labs that turned out garbage prints are shut down. Fotokem doing 70mm work and Delux of Spain consistently turn out stunning prints for the now niche market.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 09-18-2014 07:17 AM                        I am not to concerned about the lab work, but I pretty much agree that trying to do a 35mm release in multiplexes that lack staff who know how to run film without damaging it is a bad idea. I love film as much as anyone, but a wide 35mm release at this point will result in lots of damaged prints. The customers who see them (at least the handful who even know what they are watching) will be left scratching their heads wondering what is so great about this format after they watch scratched prints with bad sound. It didn't have to be this way, of course--the industry has allowed presentation standards to slide downhill for decades--but, at this point, 35mm presentations (and 16mm and 70mm) are best left to the handful of venues (mostly art houses, nonprofits, and a few independent commercial houses) that have the knowledge and equipment to make film look and sound its best. I agree that the lab work should be reasonably good, since the remaining labs do seem to care about quality.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 09-18-2014 09:27 AM                     In the years when the movie theater industry started converting to digital, and perhaps a few years leading up to it, some mass production print labs (like Deluxe in Toronto, IIRC) allowed print quality to drop. I read plenty of complaints in this forum about prints that were bouncy or had other issues. The best people at those labs started leaving for whatever reason, be it they saw the writing on the wall regarding digital or the company replaced them with lesser paid yet lesser skilled employees. Nevertheless, declining print quality helped speed up the movie theater industry conversion to digital projection. If film is going to go through some kind of revival and have the revival succeed at all various parties involved with it will have to put their best foot forward, trying hard to make it work. That means taking care of all the hurdles that must be handled in advance as well as ensuring shows are handled well once the movie is released. If we end up seeing a bunch of 35mm prints get dirtied, scratched and/or shredded we'll hear a course of "I told you so" from all the digital fanboys out there. Not just any theater will get a 5-perf 70mm print of Interstellar, so I'm slightly less worried about those prints getting trashed. The 4/35mm prints will be under considerably greater risk. My hope is all will go well, mainly with the 5/70mm prints and that might provide the momentum for the movie theater industry to retain film projection, particularly of the 5/70mm variety, in at least a few dozen key cinema around the nation.  |  IP: Logged

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