Heh. And just so's you know, the IMAX print isn't always struck from the negative. When 15/70 projection was still widespread in IMAX cinemas and they had to create hundreds of prints then for protection purposes they went out to the traditional IP->IN->print stages, IMAX being of such high quality that even a 4th gen copy still held up very nicely. But, as with 35mm, they also struck a limited number of superior 'showprints' directly from the negative for premiere engagements and select venues, e.g. the BFI IMAX was usually a recipient of one of these on whatever Nolan film.
By the time we got to Dunkirk 15/70 projection was all but dead, the number of release prints that was needed was relatively small (40-ish I think?) and so they did each one from the negative. That's still 40 times too many that you want to be running your OG negative through a printer but it helps that 15-perf is so stable as a format, even projection is rock solid, so damage isn't a major concern.
Regular 5-perf 70mm, on the other hand, was always run from the OG negatives (cut to A and B rolls or single-strand 'auto select' to prevent splices from impinging on the image, the frames being edge to edge) which is why so many large format movies are in such poor condition. When RAH did the last big photochemical restoration of Lawrence of Arabia in the late '80s he estimated that it had been run over 200 times, as well as having been physically recut into various versions with the re-releases over the years. It was in such bad condition that once they'd finished the work and created the restored IPs the negative was essentially "dead" to all photochemical intents and purposes.
21.5 by 19 metres give or take, some a little bigger some smaller.
Most of the new ones are over 320 M square
I ain't no maths genius mike but 21.5/19 = a ratio of 1.19, you sure that's right? That's a bit extreme even for IMAX!
On wiki they list all the UK IMAX 15/70 and/or laser venues here https://en.wikipedia.org/wiki/List_o...United_Kingdom and of the Cineworlds mentioned only the Glasgow one is 1.44, with York not having the dimensions listed. Rushden, Sheffield and Watford are all apparently 1.90, with the first and last having the single-laser 'commercial' setup while Sheffield has the dual-laser GT bad boy. They can be "over 320M" in terms of screen estate but that means nothing w/ref to the ratio.
Speaking of which, that the Science Museum is getting the full fat GT laser upgrade AND keeping their 15/70 projection makes me do a sad. It's ****ing criminal that the BFI IMAX is STILL saddled with plain jane 2K Xenon and just gets 15/70 prints for new movies once in a blue moon, I guess those rumours of it being sold off are still giving IMAX the jitters about upgrading it any further.
BTW, anyone interested, Anthem has a beta firmware now with the IMAX enhanced support now. It also fixes the issue with DTS-X HRA now so Fast 6 and 7 work now.
say what you will of the movie itself but the 2016 Ghostbusters took the vertical expansion/3D frame breakage to new levels of visual eye candy - the jump into the vortex expanding on a 4:3 screen was "whoah ... oh my gawd!"
Aside from the whole IE gimmick, I'm still ticked at DTS for some of the DTS UHD releases they did do, namely the few idiotic DTS-X HRA constant bit rate release (two of the Fast series at least) that A) would have been smaller if variable bit rate lossless DTS-X MA, and B) No receiver could play (and my top end Anthem still can't and I'm waiting on their frigging firmware update). NOW we hear that part of this imax "enhanced" is a new lossy DTS-X codec that I bet will once again cause issues with receivers - when even their old lossy one still isn't handled...
Why won't Denon firmware my receiver to IMAX Enhanced? I have to buy a brand new receiver for IE.
I think Sony's upcoming 4K Blu-rays being "IMAX Enhanced" doesn't mean anything. It's probably going to be like the Superbit DVD days, or the "Mastered in 4K" Blu-rays from previous years. It's more marketing gimmick to give people the impression that their discs have an edge in quality over other studios.
It doesn't guarantee an "open matte" version of movies, which incredibly, so many people these days think IMAX owns the "full screen ratio". It also doesn't guarantee HDR10+, and we lose Dolby Vision HDR and Dolby Atmos because IMAX and Dolby are rivals. So what we get instead is the DTS:X soundtrack.
IE has won't have all that noise we see on disc today.
Why won't Denon firmware my receiver to IMAX Enhanced? I have to buy a brand new receiver for IE.
It does more harm than good unless you have speakers and subs that are IMAX Enhanced certified that have specs that match with the calibration settings forced upon you in IE mode when playing IE media.
It's a money making gimmick. You should be able to make the IE trigger mode optional rather than forced.
So, the only current streaming exclusives on FN with expanded "IMAX ratios" scenes are Spider-Man FFH and Ghostbusters 2016 (theatrical)? What about Star Trek Into Darkness?
Yeah I just find myself just getting irritated with these AV codec companies and this half axxxx "war" where there can never be a "winner" and it is just continual consumer loss. So take Dolby. Arguably the better audio format, but on the videoside they be total xxxts and make a decision that nits are everything so they forcibly disable LLDV for every single 4k projector, from a "lowly" $5k projector to a $100k Barco. And DTS. The lesser audio format, and they go and deceive consumers thinking they are getting an enhanced picture, but what it really means is a lower grade audio format, nothing more, nothing visually. Just utterly disgusting. They both suck.
Yeah I just find myself just getting irritated with these AV codec companies and this half axxxx "war" where there can never be a "winner" and it is just continual consumer loss. So take Dolby. Arguably the better audio format, but on the videoside they be total xxxts and make a decision that nits are everything so they forcibly disable LLDV for every single 4k projector, from a "lowly" $5k projector to a $100k Barco. And DTS. The lesser audio format, and they go and deceive consumers thinking they are getting an enhanced picture, but what it really means is a lower grade audio format, nothing more, nothing visually. Just utterly disgusting. They both suck.
What does the bolded refer to? No consumer projektor has ever had Dobly in any way, shape or form, i.e. low latency or otherwise, the certification process is too complex (not impossible, just a PITA) because of the unique interactions between the PJ and whatever screen the consumer is using.
I did hear of some people forcing LLDV on PJs using a device to alter the EDID being sent to the player, so the player would send out the pre-mapped 12-bit stream (essentially HDR12) and all the PJ had to do was display it, but have they managed to stop that practice somehow?
What does the bolded refer to? No consumer projektor has ever had Dobly in any way, shape or form, i.e. low latency or otherwise, the certification process is too complex (not impossible, just a PITA) because of the unique interactions between the PJ and whatever screen the consumer is using.
I did hear of some people forcing LLDV on PJs using a device to alter the EDID being sent to the player, so the player would send out the pre-mapped 12-bit stream (essentially HDR12) and all the PJ had to do was display it, but have they managed to stop that practice somehow?
The DV "certification" side of it is just the whole BS part of it. Especially as centered around a silly notion of it needing "nits", rather than optimizing the image
Yeah the EDID trick for Low Latency Dolby Vision works (I got mine setup last weekend), and it is pretty good. I'm not sure (given how it works) how they could stop it. I guess if they got all manufacturers to do firmware upates to no longer allow LLDV (if that is even possible), or for new models just don't allow it.
LLDV is just basically the player implementing the DV DTM. I was pretty impressed watching The Last Jedi with it. I have to figure what titles I have with DV. On the Oppo and Sony players you can get it to put blu-ray and HDR10 in an LLDV container, so even those show as DV.
In my opinion, all display device manufacturers should just implement DTM for HDR content. I can't imagine in what world of logic you would design a device that you know that can only display say 1000 nit, and the image says 4000nit, so you just clip. It is as silly as having an amp that you can't lower the levels so if the signal is too loud you just get clipping...
The DV "certification" side of it is just the whole BS part of it. Especially as centered around a silly notion of it needing "nits", rather than optimizing the image
Yeah the EDID trick for Low Latency Dolby Vision works (I got mine setup last weekend), and it is pretty good. I'm not sure (given how it works) how they could stop it. I guess if they got all manufacturers to do firmware upates to no longer allow LLDV (if that is even possible), or for new models just don't allow it.
LLDV is just basically the player implementing the DV DTM. I was pretty impressed watching The Last Jedi with it. I have to figure what titles I have with DV. On the Oppo and Sony players you can get it to put blu-ray and HDR10 in an LLDV container, so even those show as DV.
In my opinion, all display device manufacturers should just implement DTM for HDR content. I can't imagine in what world of logic you would design a device that you know that can only display say 1000 nit, and the image says 4000nit, so you just clip. It is as silly as having an amp that you can't lower the levels so if the signal is too loud you just get clipping...
I have read about this, but it seems like quite a pain in the ... to get things work out correctly.
So you're seeing quite a difference with this as opposed to how you were set up before?
The DV "certification" side of it is just the whole BS part of it. Especially as centered around a silly notion of it needing "nits", rather than optimizing the image
Yeah the EDID trick for Low Latency Dolby Vision works (I got mine setup last weekend), and it is pretty good. I'm not sure (given how it works) how they could stop it. I guess if they got all manufacturers to do firmware upates to no longer allow LLDV (if that is even possible), or for new models just don't allow it.
LLDV is just basically the player implementing the DV DTM. I was pretty impressed watching The Last Jedi with it. I have to figure what titles I have with DV. On the Oppo and Sony players you can get it to put blu-ray and HDR10 in an LLDV container, so even those show as DV.
In my opinion, all display device manufacturers should just implement DTM for HDR content. I can't imagine in what world of logic you would design a device that you know that can only display say 1000 nit, and the image says 4000nit, so you just clip. It is as silly as having an amp that you can't lower the levels so if the signal is too loud you just get clipping...
What I don't understand is why you're talking about Dolby being "total xxxts" for doing something that they haven't done yet. It's not like getting LL Cool J to work on a projektor is just some random loophole, it requires an external device to trick the EDID and as that's the fundamental method of detecting DV in the playback chain then Dolby can't 'forcibly disable' it without literally disabling DV in its entirety for everyone.
And no, the certification is not centred around "needing nits" otherwise the 108-nit Dolby Cinema version would be shit out of luck. The issue with DV and consumer projektion is that everyone's viewing environment is different owing to the unique combinations of projektor, screen and ambient light levels. I mean, I understand the frustration here especially because the whole "golden reference" thing was quietly dropped by Dolby owing to the panel variations on direct-view displays, but clearly they feel they can still set a baseline for TVs that's more accurate than not, whereas they can't possibly legislate for all the unique interactions in the consumer projektor realm.
NEW YORK & SAN JOSE, Calif.--(BUSINESS WIRE)--IMAX Corporation (NYSE: IMAX), audio leader DTS®, a wholly-owned subsidiary of Xperi Corporation (Nasdaq: XPER), and Sony Pictures Entertainment (SPE) today announced a significant expansion of the IMAX Enhanced ecosystem with SPE’s commitment to release hundreds of new titles in the IMAX format over the next two years, including all upcoming SPE and IMAX theatrical releases.
With at least 100 new titles coming over the next 12 months and hundreds of additional titles expected in the years to follow, IMAX Enhanced exponentially increases its SPE premium content footprint for consumers worldwide via this commitment. The IMAX Enhanced releases will be available across Europe, North America and Asia Pacific regions.
IMAX Enhanced is the only way to experience IMAX’s signature picture, sound and scale outside of a movie theater, combining exclusive, IMAX digitally remastered 4K HDR content and DTS premium audio delivered through high-end consumer electronics and streaming platforms.
“We are thrilled to announce an expansion of our support of the IMAX Enhanced program with hundreds of additional titles from the legendary SPE catalog, as well as new, theatrical releases for best-in-class home entertainment. The success that SPE has enjoyed in collaborating with IMAX and DTS has inspired the decision to significantly increase our commitment and volume of content to meet the growing demand for IMAX Enhanced,” said Pete Wood, SPE’s Senior Vice President, New Digital Distribution. “Today’s agreement underscores SPE’s belief in the value of high-quality viewing experiences that IMAX Enhanced is able to bring to discerning consumers. Always at the forefront of delivering exceptional content to viewers, wherever they are, SPE’s investment in the IMAX Enhanced program ensures that we will continue to deliver even more of our films to audiences who now expect to experience movies at the highest technical quality– even in their own homes.”
“Today’s announcement represents the latest milestone for IMAX Enhanced as Sony Pictures Entertainment, IMAX and DTS continue to work hand in hand to redefine high-quality at-home entertainment,” said Patrick McClymont, Executive Vice President and Chief Financial Officer, IMAX Corporation. “SPE’s storied library provides our fans access to an unprecedented, ever-expanding roster of movie favorites across multiple genres. We look forward to continuing to drive momentum on all fronts by working tirelessly with our leading consumer electronics and streaming partners on delivering breakthrough technology and content experiences for consumers around the world.”
“IMAX Enhanced continues to experience amazing support and participation by partners across the ecosystem as the demand for differentiated content and immersive entertainment experiences continues to grow,” said Bill Neighbors, Xperi Senior Vice President & General Manager, Cinema, Home, Digital Media & Streaming Solutions. “As consumers look for new and different ways to enjoy their favorite content, SPE’s rich content library is a seamless fit with IMAX Enhanced – preserving the films’ best-in-class sight, sound and scale for an at-home entertainment experience that truly stands out.”
The addition of hundreds of new SPE titles delivers on growing demand for IMAX Enhanced as a premium content experience. The IMAX Enhanced content library already includes blockbuster and fan favorites such as Spider-Man™: Far From Home, Jumanji: The Next Level, Spider-Man: Homecoming, Venom, Bad Boys For Life, Jumanji: Welcome To The Jungle, Spider-Man: Into the Spider-Verse, Only The Brave, Men In Black™: International, Zombieland: Double Tap, A Beautiful Day In The Neighborhood, Little Women (2019), and Charlie’s Angels (2019).
Now available on four streaming platforms in 14 countries worldwide and across 17 leading certified consumer electronics manufacturers, IMAX Enhanced uses the newest, proprietary digital remastering technology developed by IMAX to deliver ultra-vivid 4K HDR picture with more vibrant colors. Select IMAX Enhanced content features its signature expanded aspect ratio – enabling viewers the full scope and scale of the picture. IMAX and DTS have also partnered with award-winning Hollywood sound mixers to use a special variant of the DTS:X codec technology integrated in home audio equipment to deliver an IMAX signature sound experience with more immersive, powerful sound. To ensure optimized playback of fully immersive IMAX Enhanced content, the two companies are also designing an IMAX Mode, meticulously calibrated to deliver the best viewing and listening experience in the home.
Sony Pictures Entertainment (SPE) is a subsidiary of Tokyo-based Sony Corporation. SPE's global operations encompass motion picture production, acquisition, and distribution; television production, acquisition, and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. SPE’s Motion Picture Group production organizations include Columbia Pictures, Sony Pictures Animation, Screen Gems, TriStar Pictures, 3000 Pictures, Stage 6 Films, AFFIRM Films, and Sony Pictures Classics. For additional information, visit https://www.sonypictures.com/corp/divisions.html.
About IMAX Corporation
IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you've never imagined. Top filmmakers and studios are utilizing IMAX theaters to connect with audiences in extraordinary ways, and, as such, IMAX's network is among the most important and successful theatrical distribution platforms for major event films around the globe.
IMAX is headquartered in New York, Toronto, and Los Angeles, with additional offices in London, Dublin, Tokyo, and Shanghai. As of March 31, 2020, there were 1,616 IMAX theater systems (1,526 commercial multiplexes, 14 commercial destinations, 76 institutional) operating in 81 countries and territories. Shares of IMAX China Holding, Inc., a subsidiary of IMAX Corp., trade on the Hong Kong Stock Exchange under the stock code "HK.1970."
Xperi Corporation (Nasdaq: XPER) and its brands DTS, IMAX Enhanced, HD Radio, and Invensas are dedicated to creating innovative technology solutions that enable extraordinary experiences for people around the world. Xperi’s solutions are licensed by hundreds of leading global partners and have shipped in billions of products in areas including premium audio, automotive, broadcast, computational imaging, computer vision, mobile computing and communications, memory, data storage, and 3D semiconductor interconnect and packaging. For more information, please visit https://www.xperi.com/.
Forward-Looking Statements
This news release contains forward-looking statements, which are made pursuant to the safe harbor provisions of the Private Securities Litigation Reform Act of 1995. Forward-looking statements involve risks and uncertainties that could cause actual results to differ significantly from those projected, particularly with respect to the IMAX and DTS partnership and the expected features, benefits, characteristics and launch of IMAX Enhanced titles and partnerships. Material factors that may cause results to differ from the statements made include the plans or operations relating to the businesses of Xperi; market or industry conditions; changes in patent laws, regulation or enforcement, or other factors that might affect Xperi's ability to protect or realize the value of its intellectual property; the expiration of license agreements and the cessation of related royalty income; the failure, inability or refusal of licensees to pay royalties; initiation, delays, setbacks or losses relating to Xperi's intellectual property or intellectual property litigations, or invalidation or limitation of key patents; fluctuations in operating results due to the timing of new license agreements and royalties, or due to legal costs; the risk of a decline in demand for semiconductors and products utilizing our audio and imaging technologies; failure by the industry to use technologies covered by Xperi's patents; the expiration of Xperi's patents; Xperi's ability to successfully complete and integrate acquisitions of businesses; the risk of loss of, or decreases in production orders from, customers of acquired businesses; financial and regulatory risks associated with the international nature of Xperi's businesses; failure of Xperi's products to achieve technological feasibility or profitability; failure to successfully commercialize Xperi's products; changes in demand for the products of Xperi's customers; limited opportunities to license technologies due to high concentration in applicable markets for such technologies; the impact of competing technologies on the demand for Xperi's technologies; pricing trends, including Xperi's ability to achieve economies of scale; and other developments in the markets in which Xperi operates, as well as management's response to any of the aforementioned factors. You are cautioned not to place undue reliance on the forward-looking statements, which speak only as of the date of this release. The foregoing review of important factors should not be construed as exhaustive and should be read in conjunction with the other cautionary statements that are included herein and elsewhere, including the Risk Factors included in Xperi's recent reports on Form 10-K and Form 10-Q and other documents of Xperi on file with the Securities and Exchange Commission (the "SEC"). Xperi's SEC filings are available publicly on the SEC's website at https://www.sec.gov/. Any forward-looking statements made or incorporated by reference herein are qualified in their entirety by these cautionary statements, and there can be no assurance that the actual results or developments anticipated by Xperi will be realized or, even if substantially realized, that they will have the expected consequences to, or effects on, Xperi or its business or operations. Except to the extent required by applicable law, Xperi undertakes no obligation to update publicly or revise any forward-looking statement, whether as a result of new information, future developments or otherwise.
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