Large Format/"Premium" Theaters (IMAX 15/70, Digital IMAX, XD, ETX, RPX, etc.)

[testmon112]

[Show spoiler]

Just looked at Cap Marvel Post Credits, similar thing again. I'm not sure what Lens was used but the face thing happens again. Interesting that the Bokeh is almost completely circular (which happens due to the 1.25 squeeze), maybe the possibility of a spherical lens used might be the case but I don't think so. It could potentially be a different shooting setting (instead of Open Gate). There's a pattern of certain shots guilty of this, but I'm not sure which lens is the culprit lol.

“We do a lot of close shots for emotion and to make you feel connected with a character,” Russo explains. The show’s go-to lens was a 50mm, and for close-ups they would jump between a 75mm and 100mm. A 40mm was usually the widest lens, as the brothers felt anything wider would start to warp the frame’s linear integrity."

For anyone who saw Captain Marvel in IMAX, was this post credits scene in expanded AR 1.90?

[UFAlien]

So contrary to the 4K master listed on IMDb, the release sheet for King of the Monsters indicates a 2K DCP only: http://www.deluxecdn.com/dcinema//pr...531_141127.pdf

The confusion continues to mount!

Of course, Deadpool also had a 4K master but only a 2K DCP...

[Geoff D]

Originally Posted by testmon112

[Show spoiler]

Just looked at Cap Marvel Post Credits, similar thing again. I'm not sure what Lens was used but the face thing happens again. Interesting that the Bokeh is almost completely circular (which happens due to the 1.25 squeeze), maybe the possibility of a spherical lens used might be the case but I don't think so. It could potentially be a different shooting setting (instead of Open Gate). There's a pattern of certain shots guilty of this, but I'm not sure which lens is the culprit lol.

“We do a lot of close shots for emotion and to make you feel connected with a character,” Russo explains. The show’s go-to lens was a 50mm, and for close-ups they would jump between a 75mm and 100mm. A 40mm was usually the widest lens, as the brothers felt anything wider would start to warp the frame’s linear integrity."

For anyone who saw Captain Marvel in IMAX, was this post credits scene in expanded AR 1.90?

1.25x bokeh is still elongated e.g.

[Show spoiler]

, it's just just not as much as 2x. This can clearly be seen in either example of shot #2, on the background over to the right, but the stuff behind Scarlett in shot #1 is CG so I wouldn't expect that to always follow the rules of how the actual plate was shot.

[ITDEFX101]

Godzilla:KOTM ...no expanded AR scenes....quite a shame.

Had a strong sound mix but I felt the score was drowned out by the sound effects. If I didn't hear the score on Amazon prior, I would have barely have noticed it during the movie. Probably going to see it at Udvar this weekend for hopefully a stronger sound output.

[Dubstar]

Originally Posted by ITDEFX101

Godzilla:KOTM ...no expanded AR scenes....quite a shame.

Had a strong sound mix but I felt the score was drowned out by the sound effects. If I didn't hear the score on Amazon prior, I would have barely have noticed it during the movie. Probably going to see it at Udvar this weekend for hopefully a stronger sound output.

I'm furious with AMC, they bumped 'Aladdin' off the Uptown screen for 'Rocketman' - it should have been for 'Godzilla: King of the Monsters' - oh well...

[Geoff D]

Originally Posted by testmon112

[Show spoiler]

Just looked at Cap Marvel Post Credits, similar thing again. I'm not sure what Lens was used but the face thing happens again. Interesting that the Bokeh is almost completely circular (which happens due to the 1.25 squeeze), maybe the possibility of a spherical lens used might be the case but I don't think so. It could potentially be a different shooting setting (instead of Open Gate). There's a pattern of certain shots guilty of this, but I'm not sure which lens is the culprit lol.

“We do a lot of close shots for emotion and to make you feel connected with a character,” Russo explains. The show’s go-to lens was a 50mm, and for close-ups they would jump between a 75mm and 100mm. A 40mm was usually the widest lens, as the brothers felt anything wider would start to warp the frame’s linear integrity."

For anyone who saw Captain Marvel in IMAX, was this post credits scene in expanded AR 1.90?

I know I'm quoting this post again but I just watched the HDR stream for Captain Marvel and yes, the credits scene is most definitely stretched a wee bit. It's funny how it doesn't overtly affect Chris Evans' face, I mean it's there but he just doesn't look 'off' whereas any shot with Scarlett, even with Cap in it, looks plain weird. And as you pointed out, they even said that they didn't want to shoot with too wide glass in order to keep the barrel distortion to a minimum.

I know that you constantly refer to the Russos "shooting this thing like a TV show" but whether that's true or not I don't think it's got any bearing on the stretching problem whatsoever. Something we have to keep in mind is that the image is being shot stretched at source, i.e. the actual picture that's hitting the sensor has more than a little squeeze inherent to it. Nothing to do with run and gun shooting, a different mode setting on the camera etc, quite simply they're not de-anamorphosing it properly in post IMO and although I'm kinda shocked by that, this is a situation without precedence - shooting UP70 ana glass but centre cropping to 1.90 then extracting the 'scope 2.39 from it - so they're making it up as they go.

I would've thought that all the seasoned professionals behind the camera, doing the VFX, colour timing the image and so on would have spotted this and corrected it, but maybe they thought that that's just how it's supposed to look?

[PeterTHX]

Originally Posted by UFAlien

So contrary to the 4K master listed on IMDb, the release sheet for King of the Monsters indicates a 2K DCP only: http://www.deluxecdn.com/dcinema//pr...531_141127.pdf

The confusion continues to mount!

Of course, Deadpool also had a 4K master but only a 2K DCP...

CG in the film looked very soft, even in IMAX.
Didn't help that they decided to set most of the monster fights in clouds and rain. Godzilla isn't supposed to be Pacific Rim (and even that sequel had the fights in clear daytime).

I'm going to say it - the VFX of the 2014 were superior - when you could see them.

[styxrogan]

it was GADAWFUL even in DOLBY CINEMA

[Dubstar]

This may have been asked, and answered, but does Regal 4DX offer immersive audio (Dolby Atmos) or is it standard 7.1 ?

[CelluloidPal]

Originally Posted by Dubstar

This may have been asked, and answered, but does Regal 4DX offer immersive audio (Dolby Atmos) or is it standard 7.1 ?

I've visited Regal's 4DX once and as far as I know, it's 7.1

[ITDEFX101]

Well today's visit to Udvar for King of the Monsters better not have a weak presentation....if those speakers aren't thumping hard I am gonna fire off a nasty email to IMAX HQ.

[Dubstar]

Originally Posted by CelluloidPal

I've visited Regal's 4DX once and as far as I know, it's 7.1

for 26 bucks, Regal could have least invested the time and effort in actually implementing immersive audio like Atmos or DTS-X - ugh, the little things that just make them seem like they chumped out.

Originally Posted by ITDEFX101

Well today's visit to Udvar for King of the Monsters better not have a weak presentation....if those speakers aren't thumping hard I am gonna fire off a nasty email to IMAX HQ.

I'm curious to hear how it went. Even though I had thought I'd invest the time and money to experience G:KoM in 4DX, I'm now eyeing seeing/hearing this in 3D/Atmos over on the Prime auditorium at the Rio on Wednesday. Yesterday's presentation at Mazza on screen 1 was actually pretty good, a set scope screen helps, but I really want to hear how the Atmos sound mix sounds.

[PeterTHX]

Originally Posted by Dubstar

for 26 bucks, Regal could have least invested the time and effort in actually implementing immersive audio like Atmos or DTS-X - ugh, the little things that just make them seem like they chumped out.

Regal bet on Auro being the format of the future.

[Geoff D]

Originally Posted by PeterTHX

Regal bet on Auro being the format of the future.

Ouch. It's pretty much the aural equivalent of Barco's 'Escape' format, not in terms of what it does but that it was the wrong horse to back.

[Dubstar]

Originally Posted by PeterTHX

Regal bet on Auro being the format of the future.

so did Cinemark for their XD screens, so sad, too bad ... that was for some reason a Barco/laser projection/Auro combo deal that Cinemark couldn't get out of or alter.

Regal should have outfitted ALL their RPX auditoriums with Dolby Atmos, but, eh, no dice

[PeterTHX]

Originally Posted by Dubstar

so did Cinemark for their XD screens, so sad, too bad ... that was for some reason a Barco/laser projection/Auro combo deal that Cinemark couldn't get out of or alter.

Regal should have outfitted ALL their RPX auditoriums with Dolby Atmos, but, eh, no dice

At least some Regal RPX screens have Dolby Atmos, notably the gigantic one at the Edwards Irvine Spectrum.

Auro was more than likely a lot cheaper.

[PeterTHX]

Originally Posted by Geoff D

Ouch. It's pretty much the aural equivalent of Barco's 'Escape' format, not in terms of what it does but that it was the wrong horse to back.

I saw Star Trek Beyond in Barco Escape and man it was a fail of a format.

Needless to say, they're trying to resurrect it AGAIN under the "Screen X" branding.
https://www.hollywoodreporter.com/ne...format-1176544

[CelluloidPal]

Originally Posted by PeterTHX

I saw Star Trek Beyond in Barco Escape and man it was a fail of a format.

Needless to say, they're trying to resurrect it AGAIN under the "Screen X" branding.
https://www.hollywoodreporter.com/ne...format-1176544

I know that there's Dolby Atmos and DTS-X or Datasat, whatever it being called nowadays but Barco is new one to me.

[PeterTHX]

Originally Posted by CelluloidPal

I know that there's Dolby Atmos and DTS-X or Datasat, whatever it being called nowadays but Barco is new one to me.

It's a projection system, not an audio format.

And Barco owns Auro.

[Dubstar]

Originally Posted by PeterTHX

It's a projection system, not an audio format.

And Barco owns Auro.

ooohhhh, so that's the reason, I somehow never knew that ... that explains a lot [shrugs]