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post #91 of 410 Old 11-15-2012, 01:11 PM - Thread Starter
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there seems to be a lot of visible artifacts on these shots. They should not be used as reference but what do I know...
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post #92 of 410 Old 11-15-2012, 01:27 PM
 
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I think shots from the actual disc should be seen before the gallows are wheeled out
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post #93 of 410 Old 11-15-2012, 01:47 PM
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I regret not catching an actual 35mm print of this, as I knew that an independent theater nearby was showing it. I'd be curious how 35mm reductions were made for the IMAX, vistavision and super panavision shots. Was this done photochemically or were the large-format negatives scanned and filmed back out?
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post #94 of 410 Old 11-15-2012, 01:59 PM
 
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There were 35mm prints? Thought this was digital only
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post #95 of 410 Old 11-15-2012, 02:08 PM
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Don't know if this been has posted before, but I found it quite interesting.

David Keighley (Head of Re-Mastering IMAX) Talks THE DARK KNIGHT, THE DARK KNIGHT RISES, TRON: LEGACY, New Cameras, More

Interview with Christopher Nolan:
The Traditionalist

Quote:
Q: You and your cameraman, Wally Pfister, are—along with Steven Spielberg—among the last holdouts who shoot on film in an industry that’s moved to digital. What’s your attraction to the older medium?

A: For the last 10 years, I've felt increasing pressure to stop shooting film and start shooting video, but I've never understood why. It's cheaper to work on film, it's far better looking, it’s the technology that's been known and understood for a hundred years, and it's extremely reliable. I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo. We save a lot of money shooting on film and projecting film and not doing digital intermediates. In fact, I've never done a digital intermediate. Photochemically, you can time film with a good timer in three or four passes, which takes about 12 to 14 hours as opposed to seven or eight weeks in a DI suite. That’s the way everyone was doing it 10 years ago, and I've just carried on making films in the way that works best and waiting until there’s a good reason to change. But I haven't seen that reason yet.


The Dark Knight: Post in 35mm and IMAX

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Shooting on IMAX posed some serious postproduction issues, too. Smith continued, "Chris really likes the look of film and the photochemical finishing process instead of a DI, so our post followed the traditional route—except for the IMAX negative, of course. Our goal was to keep the IMAX in its native format for the IMAX screenings. For the 35mm prints, the IMAX shots were digitally scanned and recorded to 35mm negative that was cut together with the 35mm camera negative. IMAX does this by scanning their 65mm negative at 8K resolution. Effects within the IMAX scenes were handled at 8K as well. These shots were then reduced to 4K resolution and recorded out to 35mm film.

"You also have to go in the other direction for the IMAX release. For these, the cut 35mm negative was color-timed at the lab [instead of a DI], producing an interpositive of the 35mm portions of the film. This went to IMAX, who used DMR—an IMAX-proprietary digital process—to 'blow up' the 35mm to the IMAX format. These scenes were then intercut with the IMAX camera negative. So, digital processes were used for the two format conversions, but each set of release prints was created by cutting the negative and timing the shots in a traditional manner."
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post #96 of 410 Old 11-15-2012, 02:27 PM
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Rips those shots may be, but thank Christ the 35mm sections don't appear to have the rampant sharpening seen in TDK.
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post #97 of 410 Old 11-15-2012, 02:48 PM
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Quote:
Originally Posted by dvdmike007 View Post

There were 35mm prints? Thought this was digital only
Next to impossible to find but yes.
At this point Pfister/Nolan must be out of touch or its an ego thing. The are no theaters near me still running film, the photochemical thing made sense in 2008, not so much in 2012.
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post #98 of 410 Old 11-15-2012, 03:34 PM
 
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Quote:
Originally Posted by Geoff D View Post

Rips those shots may be, but thank Christ the 35mm sections don't appear to have the rampant sharpening seen in TDK.

Compression would hide any sharpening
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post #99 of 410 Old 11-15-2012, 04:33 PM
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not really... the texture would be the first to go, not the edges. They're not that heavily compressed anyway.
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post #100 of 410 Old 11-15-2012, 04:39 PM
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Quote:
Originally Posted by Fang Zei View Post

I regret not catching an actual 35mm print of this, as I knew that an independent theater nearby was showing it. I'd be curious how 35mm reductions were made for the IMAX, vistavision and super panavision shots. Was this done photochemically or were the large-format negatives scanned and filmed back out?
Seems to be digital according to the ASC writeup, since I guess that made it easier to re-frame.
http://www.theasc.com/ac_magazine/August2012/DarkKnightRises/images/X_ac0812_DKR_30.jpg
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post #101 of 410 Old 11-15-2012, 05:19 PM
 
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Originally Posted by 42041 View Post

not really... the texture would be the first to go, not the edges. They're not that heavily compressed anyway.

A near 3 hour movie at 10gb....
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post #102 of 410 Old 11-15-2012, 08:09 PM
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If you don't like it don't buy it. It's that simple.
If you don't like my posts, don't read them. It's that simple.

PS. It's funny, cause "screenshots science" is almost in every thread on this forum...

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post #103 of 410 Old 11-16-2012, 05:14 AM
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Just wondering, after reading that interview 'The Traditionalist' on DGA, with IMAX, would it ever be possible to have an anamorphic widescreen IMAX format (with the same aspect ratio but the picture squeezed so that when projected in an IMAX cinema with an Anamorphic lens, the picture would be stretched to a 2.35:1 aspect ratio)?
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post #104 of 410 Old 11-16-2012, 06:30 AM
 
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Quote:
Originally Posted by newhank21 View Post

Just wondering, after reading that interview 'The Traditionalist' on DGA, with IMAX, would it ever be possible to have an anamorphic widescreen IMAX format (with the same aspect ratio but the picture squeezed so that when projected in an IMAX cinema with an Anamorphic lens, the picture would be stretched to a 2.35:1 aspect ratio)?

So basically Ultra Panavision?
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post #105 of 410 Old 11-16-2012, 06:32 AM
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Quote:
Originally Posted by dvdmike007 View Post

So basically Ultra Panavision?

But rather than be pulled through the camera vertically, like Ultra Panavision, it would go through the camera like a standard IMAX film stock.
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post #106 of 410 Old 11-16-2012, 06:42 AM
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The UK studio Rank actually developed an anamorphic Vistavision (i.e., horizontal 8-perf) variant, though the resulting image was only 1.85:1. There's no theoretical reason you couldn't do anamorphic IMAX, but for my money, 2.39:1 IMAX (at least on a true IMAX screen) leaves too much screen real estate unused and somewhat defeats the purpose.
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post #107 of 410 Old 11-16-2012, 06:42 AM
 
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Quote:
Originally Posted by newhank21 View Post

But rather than be pulled through the camera vertically, like Ultra Panavision, it would go through the camera like a standard IMAX film stock.

Would that not negate the point of IMAX's huge screen?
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post #108 of 410 Old 11-16-2012, 08:24 AM
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Quote:
Originally Posted by newhank21 View Post

But rather than be pulled through the camera vertically, like Ultra Panavision, it would go through the camera like a standard IMAX film stock.
The Technirama format did something similar, using a Vistavision-size negative with an anamorphic lens to get a scope AR. But ultimately that'd only make IMAX shooting even more cumbersome than it is right now, since anamorphic lenses are generally a bigger pain in the ass for the DPs.
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post #109 of 410 Old 11-17-2012, 09:22 AM
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PNG screens from retail Blu-ray, SPECTACULAR TRANSFER!

35mm:

00004m2tssnapshot011020.th.png
00004m2tssnapshot071320.th.png
00004m2tssnapshot073920.th.png
00004m2tssnapshot074720.th.png
00004m2tssnapshot070920.th.png


IMAX:

00004m2tssnapshot014920.th.png
00004m2tssnapshot064520.th.png
00004m2tssnapshot032420.th.png
00004m2tssnapshot035520.th.png
00004m2tssnapshot050720.th.png
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post #110 of 410 Old 11-17-2012, 09:39 AM
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Any word yet from those that have watched it whether they adjusted Bane's voice to something less clear and more like the original voice?
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post #111 of 410 Old 11-17-2012, 09:57 AM
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It's the same as the theatrical release.

Don't be too proud of this technological terror you've constructed. The ability to destroy a planet is insignificant next to the power of the Force.

- Lord Vader; Episode IV A New Hope
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post #112 of 410 Old 11-17-2012, 09:59 AM
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Quote:
Originally Posted by xfileed916 View Post

Any word yet from those that have watched it whether they adjusted Bane's voice to something less clear and more like the original voice?

Theatrical Mix
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post #113 of 410 Old 11-17-2012, 10:17 AM
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Theatrical Mix

Bummer
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post #114 of 410 Old 11-17-2012, 12:10 PM
 
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Quote:
Originally Posted by MisterXDTV View Post

Theatrical Mix

I'm more interesting if they fixed the mix levels. The audio, at least in IMAX was a garbled mess with the score frequently overpowering the dialogue completely. Wasn't so much Banes voice, but the quality of the mix.
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post #115 of 410 Old 11-17-2012, 12:29 PM
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Quote:
Originally Posted by TyrantII View Post

I'm more interesting if they fixed the mix levels. The audio, at least in IMAX was a garbled mess with the score frequently overpowering the dialogue completely. Wasn't so much Banes voice, but the quality of the mix.

OK, I've recorded the audio with audacity off the blu-ray to give you an idea of the mix:

http://picosong.com/3kz6
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post #116 of 410 Old 11-17-2012, 01:33 PM
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At least this wasn't DMR'd to death.
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post #117 of 410 Old 11-17-2012, 02:50 PM
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Wish all movies were entirely shot on IMAX cameras.biggrin.gif

Blu-ray : 340
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post #118 of 410 Old 11-17-2012, 02:52 PM
 
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Quote:
Originally Posted by TyrantII View Post

I'm more interesting if they fixed the mix levels. The audio, at least in IMAX was a garbled mess with the score frequently overpowering the dialogue completely. Wasn't so much Banes voice, but the quality of the mix.

Same here, they raised his voice for the cheap seats at the expense of the entire soundtrack, just dire
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post #119 of 410 Old 11-17-2012, 05:27 PM
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Does it have the 'Phone Booth' effect? I'm making reference to putting his voice through all 5.1 channels, and not just the center channel. It sounded like that in theaters. I hope it's mostly just through the center channel this time.
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post #120 of 410 Old 11-17-2012, 07:55 PM
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I don't remember that, but I do remember that his voice was inexplicably five times louder than everyone else's voice. They made no mention in the film of an amplifier/speaker system in that mask of his. I love the character, but it just sounds too artificial. In a filmmaking way.. it reeks of ADR, not a good thing.

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