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Author Topic: Die Hard 5 Connor Wilson Expert Film Handler Posts: 190 From: Sterling, VA, USA Registered: Jan 2011 posted 03-03-2013 08:45 PM                     quote: Bobby Henderson Connor, I'm confused. You say the Dolby Atmos trailer that played before A Good Day to Die Hard sounded great. But the movie itself was very loud, shrill, sounded like mono, etc. If the Dolby Atmos snipe sounded great and then the movie sounded like crap wouldn't that be a fault of the movie's mix itself rather than something to do with the theater? No, the Dolby Atmos trailer sounded at best: good, not great. It could sound better, bass was kind of flimsy, and should feel like a throb to your chest. I was just excited to see it on the big screen. Also, the trailer for The Internship was loud, maybe because the projectionist or automation forgot to adjust the fader accordingly.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 03-04-2013 10:13 AM                     One movie trailer that's louder than the others is the fault of the dummies who insisted that movie trailer's mix be louder. I can see some movie theaters doing some extra effort to program in a lower volume level for the trailers so they're not louder than the main feature, but I don't expect any theater to check and program in a custom volume level for each specific movie trailer. Honestly, this is a situation the movie studios themselves could fix if they actually gave a shit about consistent volume levels. If the movie distributors were doing their jobs correctly the theater wouldn't have to mess with programming in different volume levels for trailers, commercials and different movies. With the job done right the fader would be set at one level and stay there. With the trend of projection booths moving towards a completely unmanned, remotely operated state that would put even more pressure and blame onto the shoulders of movie studios. The way Dolby Atmos is being marketed it sounds like the system automatically tunes/EQ's itself according to the auditorium where it is installed. I suppose one of the goals is cutting the amount of time a human being is paid to service the sound system (as if there's a huge amount of time being spent on that as it is).  |  IP: Logged Jonathan Goeldner Phenomenal Film Handler Posts: 1360 From: Washington, District of Columbia Registered: Jun 2008 posted 03-06-2013 04:26 PM                     even though it was only the second film I heard in Atmos, I thought it was a step backwards since 'The Hobbit' wasn't as bombastic and aurally painful to Die Hard 5's soundmix. Since 'Oz: The Great and Powerful' isn't a violent action flick I have high hopes the Atmos mix I plan on hearing over the weekend isn't a sonic headache waiting to happen, and can impress me.  |  IP: Logged Andrew Thomas Master Film Handler Posts: 273 From: Pearland, TX, USA Registered: Jun 2012 posted 03-29-2013 03:53 PM                     With regard to the topic of true anamorphic capture in digital, Arri has released versions of the Alexa with native 4:3 sensors for doing anamorphic scope recording. I is quite likely that RED will release a 4:3 sensored camera sooner or later. I would be pretty surprised if Sony didn't follow suit as well.  |  IP: Logged John Wilson Film God Posts: 5438 From: Sydney, Australia. Registered: Dec 1999 posted 04-03-2013 10:43 PM                     quote: I have seen a number of humorous reviews though, my favorite (and surprisingly not written by John Wilson) is: quote: Die Hard 5 is the Crystal Skull of Die Hard movies. Just saw that. Yeah, I won't be watching it.  |  IP: Logged

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