70mm DISCLOSURE DAY

[Jim Cassedy]

70mm DISCLOSURE DAY
Print Stock: Kodak 2383 - 4 (Projection) Reels
Aspect Ratio 2:39:1 within 2:20:1 Frame
Audio: DTS - Serial= 14269
Print Print Was Shipped with 2 Sets DTS Disks/Thumbdrives:
> "5.1 DISCRETE AUDIO" : For XD10 and XD20 players
> "5.1 STANDARD AUDIO" : For older model players
Attached Trailers:
DUNE 3 Trailer 1 + ODYSSEY Trailer 2

[Steve Guttag]

Back in the day, Steven was okay with Raiders of the Lost Ark being 2.20 in 70mm.

[Ryan Gallagher]

Back in the day, Steven was okay with Raiders of the Lost Ark being 2.20 in 70mm.

We just showed the 35mm 2012 restoration... 70mm would have been more fun. We have some "show and tell" from prior eras/projectionists that are burned frames from a Last Crusade 70mm mag screening attempt. Off the top of my head I don't recall if it was 2.35 or 2.20.

[Steve Guttag]

2.20 in 70mm. I showed that and TOD in 70mm. All 2.20

[Sascha Roll]

2.20 in 70mm. I showed that and TOD in 70mm. All 2.20

I might remember this wrong, but wasn't THE UNTOUCHABLES one of the first or maybe even the first 70mm blowup to feature a 2.39 Image with slight pillarboxing?

I do not recall any titles before that being letterboxed.

[Steve Guttag]

It is the first that I personally remember showing in 2.39 (hard matted).

[Scotty Wright]

Caught the Seattle 70mm presentation on opening night at the AMC downtown. I had seen Oppenheimer a few times in that room and Tenet once. I was surprised how dynamic the sound in one of those smaller rooms could be. I feel like Disclosure Day was a touch quiet or it could just be that Oppenhiemer and Tenet were much more aggressive mixes to begin with.

did FotoKem do the printing? I saw a lot of New York-based companies in the credits. Maybe I just missed them.

[Chris Haller]

Drove down to Toronto to pay a visit to fellow member Victor Liorentas and the Vic 8 installed at The Varsity on Bloor Street. It was pretty funny to see the Dune and Odyssey trailers in full 2.20 on a 2.20 shaped screen and then get slight letterboxing for the feature. Nice print, though it looks essentially identical to the 4K DCP played back in 4K, which is a testament to the print's steadiness and general sharpness. The 4K DI put a hard ceiling on this particular presentation.

No Fotokem or Kodak in the credits it appears for this movie. Isn't Fotokem the only business left in town?

Anyways, I'd love to know if there's any meaningful differences between those two DTS tracks. I suspect its just software shennanigans.

[Marcel Birgelen]

Discrete audio is essentially just uncompressed 16 bit PCM per channel, whereas "STANDARD AUDIO" uses the old apt-X100 compression scheme used by DTS since its inception.

The recording of this movie is a bit of a mess, a mixture of pretty grainy 35mm film, standard Arri Alexa 35 footage combined with some extremely high-fidelity, low noise Sony Venice 2 shots at 8K... I'm not sure if 70mm is the best format to see this.

Unless you shoot something on 65mm film, I see no real reason nowadays to see it in 70mm, especially if your process involves a digital intermediary. It's really a waste of precious materials.

[Thomas Piccione]

Discrete audio is essentially just uncompressed 16 bit PCM per channel, whereas "STANDARD AUDIO" uses the old apt-X100 compression scheme used by DTS since its inception.

The discrete audio is not uncompressed. It is using the "special venue" method of having a dedicated channel for the subwoofer instead of filtering it out of the surround channels, meaning those can be full range as well. The track is very much still aptX100 and subject to lossy compression.

[Marcel Birgelen]

Thanks for that correction. What's the official DTS/DATASAT nomenclature for uncompressed PCM audio? Because I'm pretty sure both XD10 and XD20 support this too.

[Thomas Piccione]

Thanks for that correction. What's the official DTS/DATASAT nomenclature for uncompressed PCM audio? Because I'm pretty sure both XD10 and XD20 support this too.

To my knowledge, uncompressed PCM was never supported. They did have lossless compression, which was referred to as the DTS Coherent Acoustics format, but it was only used a few times.

[Marcel Birgelen]

To my knowledge, uncompressed PCM was never supported. They did have lossless compression, which was referred to as the DTS Coherent Acoustics format, but it was only used a few times.

Yeah, that was wat I was looking for: DTS Coherent Acoustics uses a lossless format with Huffman Coding (think ZIP) on top of it, but the uncompressed stream is essentially pure PCM. I was in the impression that that referred to "DISCRETE AUDIO". Wasn't there also support for more channels and higher resolution audio?

[Ian Puffenberger]

I feel like Disclosure Day was a touch quiet or it could just be that Oppenhiemer and Tenet were much more aggressive mixes to begin with.

It's almost certainly the latter. Not to preemptively reopen a debate that's probably going to be reopened a month from now, but Nolan is known for very aggressive mixes. Tenet in particular is the loudest movie I've ever heard in a theater, both the DCP and the 70MM reissue a couple years ago. And those were at Alamo (in 2020 before their decline) and the AFI, so I'm confident both were played at the proper volume. The DCP of Disclosure Day sounded "normal" to me volume-wise, whatever that means.

[Stefan Scholz]

Ian, I didn't remember Tenet to be excessively loud in the DCP I screened. It was nice, and had a lot of low end though. The only "complaint" I got, from the girls preparing the food for supper, if we could stop shaking the kitchen, where eventually the plates in the cupboard rattled and the feeling in the room somewhat uncomfortable. The theatre room was just fine.
Loud are TV movies, with harsh compression, and a wrongly set reference level, they actually hurt. Tenet used dynamics, and with a good speaker system, its gorgeous.