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This topic comprises 4 pages: 1 2 3 4
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Topic: New THX Trailer - Eclipse
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Monte L Fullmer
Film God
Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004
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posted 04-03-2015 06:38 PM
quote: Marco Giustini
...not necessarily with the knowledge of how the system works.
This goes back to my carbon arc days at the drive-in, and later on, with indoor operations:
Our booth was ground level with the rest of the building and the entrance door was just right there.
I would be sitting in an easy chair between changeovers to watch the film when other duties were accomplished.
Patrons would walk by and see the machinery through the door and ask me why of the two machines.
I, then proceed to tell them, in great detail and showing them exactly what goes on, the technique of doing reel changeovers with the cue marks on the screen.
I've had some returned patrons tell me that ever since I showed them this procedure, that it has ruined their moviegoing experience since they now see and wait for the cue marks to appear.
And to this day, the ones that knew me during this era have told me that they still look for cue marks.
And, it's funny they ask why they don't see any more cue marks anymore and I reply back that they're experiencing a digital movie - no longer is film being used.
-Monte
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Connor Wilson
Expert Film Handler
Posts: 190
From: Sterling, VA, USA
Registered: Jan 2011
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posted 04-03-2015 10:09 PM
I just watched it on YouTube.
Let's go back to the beginning. If you collect older CDs, you might be familiar with a trio of letters on the back of the jewel case. The first letter was the tech used to record sound, the second being the method it was mixed in, and finally the last is for the mastering. On a CD you may get a couple of A's for Analog or a couple of D's for Digital. Some cases, usually with contemporary classical recordings, you'd get D's all across the board. Let's apply this to the Deep Note.
In the 80's, it was AAA for optical and magnetic. In the early 90's it was AAD for digital sound on film and video. In the mid 90's it was ADD to accommodate 5.1 digital sound, and subsequent ADD revisions followed (Broadway 2000, Science of Sensation) for the longest time. They all traced back to that 4-track analog recording, and if you're Wendy Carlos these would be DAAA, DAAD, and DADD, since it was computer-generated.
Eclipse is historic because it introduces the first DDD (or DDDD for Wendy) Deep Note. Sorry, Grand doesn't count because it was an alternate itteration of the piece to co-exist with J.A.M.'s original version, along with James Horner's Cimarron. The Deep Note was Moorer's baby, and it was time for it to come of age, leaving young adulthood into straight-up adulthood. This transformation has made the revered, and reviled by some, piece of maximallist math-disco written with minimallist ethos into a nastier, deadlier aural monster, and I love it.
I miss the charm of the original 1983 recording. Eclipse may have turned that kick-ass ass-kicker into an adorable ass-kicker, and the recording that gave several Generation Y kids and Millenials nightmares, including myself, is now beaten by one of its own successors. For the first time, the 1983 Deep Note that stood the test of time is trumped by something scarier. The intimidating Generation X aural equivalent to a powerful drug cartel, is now an old fart that yells with a raspy voice. Not even the "saucier" remixes of the Note made in the 2000s were able to be at equals with the 70mm Baby Boom flavor. Eclipse gives us a Note that is so beastly I can't describe his actions here unless I want a ban. Last thing I would say is that it's refreshingly masculine after the previous effeminate trailers of the 2000s.
The graphics were simple, in classic THX fashion, but effective paired with the audio. I don't understand the significance of "see you on the other side." Was that a tribute to Harold Ramis? Was it about death? It's far more cryptic than "The Audience is Listening," and makes Eclipse the first THX trailer to become existential rather than escapist.
I'm still waiting for the 24-bit remaster of the original recalled Cimarron trailer. Modern state-of-the-art theaters can handle it, why not introduce it to a new generation?
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Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 04-05-2015 11:30 PM
The new THX Eclipse trailer is pretty decent looking. Some of the visuals make me think of the iris on an eyeball. I think the animators went kind of nuts with the lighting effects on the dark THX logo once it appeared. It's a little too flashy and disco like. Hopefully I'll get to hear the new trailer in action the next time I visit a Warren Theater either in Moore or Broken Arrow.
quote: Terry Monohan
To bad Dolby does not do any advertising these days about what theatres have the Dolby Atmos system.
Dolby does have a theater installations map that can be filtered to show only Atmos equipped theaters.
Unfortunately that map is only going to be good for people already familiar with Dolby Atmos or any other Dolby process. More really needs to be done at the movie theater level. Dolby could provide some help for that, but movie theaters have to do some of the work too since they all have their own specific sign systems. Theaters that have "digital signs," like HDTV screens doubling for movie poster cases could be showing videos from Dolby that could help promote Dolby Atmos. Each theater chain has its own unique web site and site layout. Dolby could give them suggestions what to do, but in the end each theater chain has to incorporate promotion for Atmos into their own web sites themselves.
Another problem: all the alphabet soup labeled, premium priced auditoriums. Theater chains are trying to put all their marketing oomph behind concepts the customers only confuse with IMAX' own very murky and deceptive branding. Those acronyms ultimately mean absolutely nothing. Customers don't know any of the specifics behind why a bigger auditorium has the acronym label and a higher ticket price. In most cases there is justification for the higher price. I don't think it's worth a price premium to watch a movie in standard single projector 2K or 4K and with 5.1 or 7.1 surround. There has to be more to it than that. At least there is some understanding for it with IMAX (they're all at least dual projector theaters). But IMAX often charges an even higher price than many other premium big screen theaters and yet only delivers HDTV resolution imagery and 5.0 surround. Their 4K laser projection system and 12 channel surround format upgrades are very long overdue.
Maybe Atmos can gain more traction with Dolby Cinema theaters, whenever they start appearing. Haven't seen any deals with American circuits inked just yet.
quote: Steve Guttag
However, I agree, Dolby has everything to gain to keep the Dolby brand associated with cinema and movies in general. DTS has no cinema presence anymore so they could keep in consumer's mind that movies = Dolby.
That could change once DTS launches the DTS:X format they're developing to compete with Atmos. Of course the bigger question is whether the partnership between DTS & Barco will result in Cinemark upgrading all those new Auro 11.1 installations to DTS:X. I don't like Auro, particularly because it has no 7.1 channel base layer. Lossless height and ceiling channels, but no discrete back wall surround channels is a step backwards. The primary channels being dropped to 16-bit as opposed to 24-bit is also a step backwards.
quote: Terry Monohan
I think Dolby Atmos will catch on with the public the more theatres have It installed and they plug It. Let's see the studios put the Dolby Atmos logo on the movie ads/posters with a *IN SELECT THEATRES.
Dolby Atmos is a very expensive system to install, especially if it is done right. The CP-850 cinema processor costs close to $30,000. Surround speakers in an Atmos system have to be more powerful than typical surround speakers. The best Atmos systems will have all the surround speakers separately amplified, not to mention have 3-way or 4-way stage speaker systems, plenty of sub-bass cabinets and at least a couple sub-bass cabinets in the surrounds. Not every Atmos equipped theater does that.
Atmos isn't treated very well in terms of branding with specific movie releases. Some movies will include a Dolby Atmos logo on the poster, but often at very microscopic sizes. Not all Atmos movie releases feature the Atmos logo on the end credits, but they'll include a Dolby Digital logo even if there aren't any theaters playing the movie in 35mm and lossy Dolby Digital.
![[Roll Eyes]](rolleyes.gif)
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