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Author Topic: A New Low in Presentation Standards Mike Schulz Expert Film Handler Posts: 122 From: Los Angeles, CA Registered: May 2007 posted 01-03-2017 08:39 PM                     quote: Leo Enticknap to avoid hanging chads. The year of 2000 called. They want their chads back.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 01-04-2017 06:18 AM                     Well for Stewart, there is no mystery there. On their standard Cine-perf, it is clearly manually applied via some sort of rolling pin. Just look at one. The perfs are not uniform in application (they weave about). The good in that are no moiré patterns. The bad, sometimes they collide into each other and appear to have a seam. The bigger deal on Stewart is that their gains are spot on and the image off of one really looks better. Their Ultramatte 130 is a non-hotspotty looking screen with a bit of "snap." Their Snomatte 100 screens are what a screen should look like. I just wish they were not 4-5 TIMES as much money as a standard movie screen. They are better, just not that much better (unless you are evaluating image quality on it or are betting your career on the look).  |  IP: Logged Martin Brooks Jedi Master Film Handler Posts: 900 From: Forest Hills, NY, USA Registered: May 2002 posted 01-23-2017 12:57 AM                        quote: Adam Martin La La Land is 2.55 inside of a scope container. I saw this a few days ago at the Loew's Lincoln Square in NYC on their "Loew's" screen, which is their largest auditorium, with a balcony and Dolby Atmos sound. Maybe it's because of the curved screen, but it did not look to me like it was projected at 2.55. It looked like standard 2.4:1 to me. When the "LaLa Land" title appeared there was very little space on the left and right sides outside of the title. Did anyone see this in a theatre where they were sure it was projected at 2.55? Do you remember if there was much space outside the title? I'm wondering if they enlarged the image to common height and lost some of the width.  |  IP: Logged Martin Brooks Jedi Master Film Handler Posts: 900 From: Forest Hills, NY, USA Registered: May 2002 posted 01-23-2017 06:23 PM                        Someone on this site who wants to remain anonymous sent me a photo of the title frame of La La Land playing at their theater and as it turns out, I did see it at 2.55:1. It just didn't seem that way due to the curved screen. Interesting how that affected my perception.  |  IP: Logged Aron Toplitsky Expert Film Handler Posts: 113 From: Gardena, CA, USA Registered: May 2012 posted 05-13-2017 02:06 AM                     Wow didn't know Lincoln Square converted their Loew's auditorium to Atmos. I've seen many films in that auditorium when I lived in NY. Towards the end around ten years ago it just didn't sound good anymore. How is the Atmos in that room? Just wondering if there is any update on AMC Universal and their crappy projection? The theater looks really nice and I'm loving laser projection/Atmos in every theater, but don't want to drive 25 miles north to experience a lousy image.  |  IP: Logged Mark Ogden Jedi Master Film Handler Posts: 943 From: Little Falls, N.J. Registered: Jun 99 posted 05-13-2017 09:01 AM                     For what it's worth, I've seen two movies at the AMC Universal theaters in the last few months, Life about a month and a half ago, and Fate of the Furious two weeks ago. Both were fine visually, bright and sharp. I tend to believe that the report that began this thread was an embarrassing but one-off problem and not a regular occurrence at the theater. But I'll tell you one thing I noticed about the sound at both these shows: the ridiculous low frequency amplification. Both these shows had the subs cranked up to Sensurround levels, and while some get off on that kind of thing, the acoustic rattle in both houses was noticeable, annoying and uncalled for. I'm all for good sub-bass performance but if you can't do it cleanly without rattling and vibrating every fixture in the room, then you are just calling attention to your fanboi sound system and you aren't fooling anyone, IMHO.  |  IP: Logged Aron Toplitsky Expert Film Handler Posts: 113 From: Gardena, CA, USA Registered: May 2012 posted 05-13-2017 07:28 PM                     Mark, I'm one of those that gets off on cranked up bass, but when it rattles objects in the theater, I agree it's a HUGE turn off and very distracting! I've noticed the same issue at AMC's Century City 15 Dolby Cinema room in Los Angeles. I've complained to both Dolby and AMC and of course never heard back from either one.  |  IP: Logged William Kucharski Expert Film Handler Posts: 244 From: Louisville, Colorado, United States of America Registered: Oct 2012 posted 05-16-2017 10:49 PM                     quote: Aron Toplitsky I'm one of those that gets off on cranked up bass, but when it rattles objects in the theater, I agree it's a HUGE turn off and very distracting! I've noticed the same issue at AMC's Century City 15 Dolby Cinema room in Los Angeles. I've complained to both Dolby and AMC and of course never heard back from either one. Given I've complained ad nauseum to both local and corporate AMC as well as Dolby about my local Dolby Theater (AMC Flatiron Crossing 14) that features both lower corners glowing a nice red from the unshrouded stair lighting and a lower half of the screen out of register from the top half (stacked projectors) I don't think any of them care about any type of quality issue.  |  IP: Logged John T. Hendrickson, Jr Jedi Master Film Handler Posts: 889 From: Freehold, NJ, USA Registered: Apr 2001 posted 05-26-2017 06:09 PM                     You really have to wonder if anyone gives a rat's pitootie about presentation anymore  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 05-26-2017 09:45 PM                     The exit light problem is just stupid. You could solve that problem with some cardboard, tape and a step ladder in a just a few minutes. Fashion a hood just large enough to block the light from hitting the screen, but not obscuring the view of the exit signs from the people in the seats. Glow problem solved.  |  IP: Logged Frank Cox Film God Posts: 2234 From: Melville Saskatchewan Canada Registered: Apr 2011 posted 05-26-2017 10:03 PM                        That's exactly what I did with the exit sign that's near my screen. I used a little piece of 3/8 plywood that I wrapped with screen masking material.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 05-30-2017 02:51 AM                        As Bobby said, it's just stupid for this to be a problem. First off, I have never seen any regulation setting a specific lumen value for exit lights (if anyone has, let us know what it is). All you need for an exit light to fulfill it's requirement is no matter where you stand in the theatre, you need to be able to read EXIT. I will bet that 9 time out of 10, that can be accomplished with 50% less of the brightness most exit lights actually spew out. I imagine exhibitors just put them up and however bright they are, that's how bright they leave them; no one futzes around with them once they are up. Thing is, they can EASILY be dimmed down by just adding a small household dimmer in the fixture itself or they can just as easily be dimmed down with few pieces of either neutral density gel or a light blue or aqqua gel from Rosco. If it's red LED, the blue-ish theatrical gel will tame that bright red down substantially -- job done. Now walk round the theatre...can you still read EXIT? If yes, you are good to go and probably have significantly reduced the spill on the screen. Still see a red haze? Add those fins on the screen side -- use black poster card and it will look uber-professional, just like it came that way. There is no reason for this to even be an issue...at least not for an exhibitor who gave a damn. And of course, you can always design a theatre so that exit doors aren't in the FRONT of the theatre NEXT TO THE EFFIN SCREEN! That works too.  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 05-30-2017 11:03 AM                        Frank, I ran into this problem when we had our indoor house. Matter of fact, our Fire Marshall did have a lumen standard for theatre exit lights... he just didn't have anything to measure it with. His solution was to forbid us to do anything to modify the exit lights we had in the building... such as adding a gel filter or disconnecting some of the LEDs. Still, we found a pot in the sign's power supply that seemed to have a rather dramatic effect on the output... no modification necessary. The unfortunate part of this is that some theatres have found ways to bring exit light levels down to the point that you can hardly see them in a dark room, much less one with lights or (maybe) smoke. That just supports the fire department's view on these things...  |  IP: Logged Harold Hallikainen Jedi Master Film Handler Posts: 906 From: Denver, CO, USA Registered: Aug 2009 posted 05-30-2017 11:39 AM                        It would be interesting to see a standard on exit light brightness. I imagine the goal is to have the exit light visible if the lights suddenly go out, as in a power failure. In a typical application of an exit sign, the room may have been brightly lit, then the lights went out. Your eyes were "light adapted," and the exit sign may have to be relatively bright for it to be visible. Maybe a bit complex, but it'd be interesting to have an exit sign with an ambient light sensor and a delay that mimics the eye's adaptation to darkness so it remains visible but gets dimmer over time as the eye becomes more sensitive in darkness. Harold  |  IP: Logged Frank Cox Film God Posts: 2234 From: Melville Saskatchewan Canada Registered: Apr 2011 posted 05-30-2017 01:18 PM                        While battery-backed exit signs are available I don't think they're in use in very many places. At least I haven't seen too many in the wild around here. So if the power goes out the exit signs are off too.  |  IP: Logged

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