Immortals 3D??? - Page 2 - AVS Forum
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post #31 of 50 Old 03-16-2012, 10:32 AM
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I forgot to mention the other thing about Immortals 3D: its full screen. Which wasn't the case with Green Lantern and Priest. If its 3D, it HAS to be full screen. The black bars at the top and bottom, IMO, are a distraction from the 3D, and destroys the "suspension of disbelief". Its supposed to come "out of the screen", not out of the borders .

Yeah, here it is...I had this issue when my main moniter was my 32" Samsung CRT. Its a small screen in the FIRST place, so if I got a DVD with the 2.40:1 ratio, I'd get the smaller picture with the bars on the top and bottom. I'd get the bars on the 1.85:1 movies TOO, but the difference was I could use the "vertical stretch" function to to make the picture fullscreen. You only noticed anything when looking at humans. Their foreheads were bigger . You didn't really notice anything different from the inanimate objects. If I stretched the 2.40:1 picture, it STILL wasn't big enough to fill the screen, and the black bars were still there. I prefered stretching the 1.85:1. When I realized to check the ratios on the box, I only went for 1.85:1 DVDs, and only got the 2.40s if that was the only option. HBO HD plays all their movies and events in 1.85, while Showtime played their movies in 2.40 and (boxing) events in 1.85, BTW.

Now that CRT is my secondary TV, and I now have a true letterbox 55", the 1.85 fills the entire screen naturally with no stretching, and the 2.40 does what the 1.85 used to do, the black bars. Gotta check to see if I can stretch it, or stay away from 2.40s . These very same movies, that are 2.40 on the DVD, or 1.85 on OTHER mediums, like On Demand or the premium cable channels (other than ShowTime).
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post #32 of 50 Old 03-16-2012, 08:51 PM
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Black bars never bother me. I love to see movies in the AR in which they were photographed. Makes me appreciate the DOP's hard work!

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post #33 of 50 Old 03-17-2012, 11:36 AM
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Quote:
Originally Posted by chroma601 View Post

Black bars never bother me. I love to see movies in the AR in which they were photographed. Makes me appreciate the DOP's hard work!


+1. OAR all the way for 2d and 3d. I am curious how AndreHD would like Immortals if he was viewing on a 2.35 screen at which point there would be black bars on the sides Would he then be claiming "ALL" 3d should NOT be full screen and must be 2.35.

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post #34 of 50 Old 03-17-2012, 12:56 PM
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Originally Posted by Toe View Post

+1. OAR all the way for 2d and 3d. I am curious how AndreHD would like Immortals if he was viewing on a 2.35 screen at which point there would be black bars on the sides Would he then be claiming "ALL" 3d should NOT be full screen and must be 2.35.

If a 2:35 movie is shown cropped at 1.85, I won't even watch it. (haven't watched a movie on HBO in years!) What's the point of 3D if some of the picture information is lost??? I mean...really. If the black bars are an issue, just turn out the lights and they won't even be noticed.

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post #35 of 50 Old 03-18-2012, 10:07 AM
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I rented this from 3Dblurayrental.com and thought it was excellent (3D, story, acting) I'll be buying a copy, once the price goes down.
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post #36 of 50 Old 03-18-2012, 05:57 PM
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Such a sick movie. Great great sound. Good visuals and good 3d. Very happy with site unseen purchase!!

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post #37 of 50 Old 03-18-2012, 08:16 PM
 
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Quote:
Originally Posted by cinema13 View Post

If a 2:35 movie is shown cropped at 1.85, I won't even watch it. (haven't watched a movie on HBO in years!) What's the point of 3D if some of the picture information is lost??? I mean...really. If the black bars are an issue, just turn out the lights and they won't even be noticed.

Not all 2.35 movies are shot at 2.35. Many are shot at 1.78 (and even 1.33) then simply cropped to 2.35. This has been going on for quite some time (The Super 35 film format)

You aren't missing anything. All you are seeing is additional image info.

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post #38 of 50 Old 03-18-2012, 08:56 PM
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Originally Posted by theshadow1234 View Post

I saw this at my local theatre on the XD 3D theatre and it was very good. The 3D was good but could have been better. Not to much pop effect in it. I found myself more into the battle sequences than the 3D effects.

Maybe on Blu it will be better.

Conversions don't "pop out."

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post #39 of 50 Old 03-18-2012, 09:01 PM
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Originally Posted by Don Landis View Post

Saw it last night. Great 3D depth. Well done but overall, I felt the entire movie except one scene when the 4 came in ( one was the Oracle). That was proper brightness and easy to view. Don't know why these directors can't get enough lighting. Most of the rest was too dark.

As per conversions, depth inward is possible but effects coming out of the screen I haven't seen. The film, like many conversions, was a bit dark. As conversions go, it was Ok.

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post #40 of 50 Old 03-19-2012, 04:32 AM
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Quote:
Originally Posted by steve ans View Post

Conversions don't "pop out."

Alice in Wonderland was a conversion and it had popout. Captain America also had several popout moments. It falls to the discretion of the filmmakers and people doing the conversion. It is not a limitation of the technology.
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post #41 of 50 Old 03-19-2012, 04:51 AM
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zero popout but still good depth

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post #42 of 50 Old 03-19-2012, 06:30 AM
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Quote:
Originally Posted by TonyDP View Post

Alice in Wonderland was a conversion and it had popout. Captain America also had several popout moments. It falls to the discretion of the filmmakers and people doing the conversion. It is not a limitation of the technology.

I've never seen Pop Out in a conversion, saw some of The Immortals on 3D PPV forgetting it was a conversion. Haven't seen Alice in Wonderland. I'll take you word on the pop out but I have to really take a look at it. I detest conversions (Thor- the worst, saw that in IMAX) so I generally make every effort to avoid them theatrically.

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post #43 of 50 Old 03-19-2012, 09:46 AM
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A truly effective pop out sequence will either make you flinch or reach out to grab the object.
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post #44 of 50 Old 03-19-2012, 09:54 AM
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Originally Posted by Rudy1 View Post

A truly effective pop out sequence will either make you flinch or reach out to grab the object.

Never saw it on a conversion and I'm doubtful. Every conversion I've seen had depth (sort of) inside the screen.

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post #45 of 50 Old 03-19-2012, 10:20 AM
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Quote:
Originally Posted by Lee Stewart View Post

Not all 2.35 movies are shot at 2.35. Many are shot at 1.78 (and even 1.33) then simply cropped to 2.35. This has been going on for quite some time (The Super 35 film format)

You aren't missing anything. All you are seeing is additional image info.

I'm familiar with Super 35...and often there might be some additional image on normal sequences, but would still be missing on effects sequences (THE ABYSS comes to mind.) And even more importantly, image composition may be lost. As an example, in DARK CITY, there is more distance between an automat vender and Rufus Sewell in the widescreen composition. But when opened up, they appear much closer ot each other. Composition has quite a bit to do with how a movie communicates an impression to a viewer, even if only subliminally. And, having been on some film sets, I know how hard people work (and how long) just to get one, single widescreen shot to reflect what the director wants in the frame. For me, that's more important than some extra, extraneous empty space...just to fill a compromised
16x9 screen.

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post #46 of 50 Old 03-19-2012, 11:37 AM
 
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Quote:
Originally Posted by cinema13 View Post

I'm familiar with Super 35...and often there might be some additional image on normal sequences, but would still be missing on effects sequences (THE ABYSS comes to mind.) And even more importantly, image composition may be lost. As an example, in DARK CITY, there is more distance between an automat vender and Rufus Sewell in the widescreen composition. But when opened up, they appear much closer ot each other. Composition has quite a bit to do with how a movie communicates an impression to a viewer, even if only subliminally. And, having been on some film sets, I know how hard people work (and how long) just to get one, single widescreen shot to reflect what the director wants in the frame. For me, that's more important than some extra, extraneous empty space...just to fill a compromised
16x9 screen.

So what is your opinion when they change a 15/70 IMAX frame from from 1.44 to 1.78/1.85?
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post #47 of 50 Old 03-19-2012, 02:15 PM
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Originally Posted by steve ans View Post

Never saw it on a conversion and I'm doubtful. Every conversion I've seen had depth (sort of) inside the screen.

Captain America had a very nice scene of Cap throwing his shield and it flying out of the screen towards you. Both my brother and I instinctively flinched at that one when we saw the movie at the cineplex. Alice in Wonderland had numerous shots of swords and spears being jabbed towards the screen that also worked quite well (though admittedly they didn't poke as far out as Cap's shield). The thing to remember about conversions is that they can often be augmented by CG additions (I'm pretty sure both Cap's shield and the swords and pikes in the above shots were all CG) and as long as the convergence is calculated correctly it should work fine whether the movie was shot natively or is a conversion.

My main problem with conversions is that the sense of depth into the screen just never feels as natural and doesn't have as many layers of depth. There's a crowd scene in Alice in Wonderland that comes very close but most of the time depth in conversions consists of a handful of layers at most, usually one or two background objects set against a foreground. This pretty well summarizes the depth I experienced in Immortals. Establishing shots of towers and fortresses had a few layers of depth but crowd scenes (such as when Theseus rallies the troops near the end) didn't really convey strong depth.
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post #48 of 50 Old 03-19-2012, 04:04 PM
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Quote:
Originally Posted by Lee Stewart View Post

So what is your opinion when they change a 15/70 IMAX frame from from 1.44 to 1.78/1.85?

Can't really say, since I haven't seen any (much less compared), except for perhaps DARK KNIGHT. I assume that Nolan composed them knowing it would be 1.85 later. (I was actually on-set for DKR for a couple days and noticed that Nolan was not ignoring the IMAX cameras.) But I would not have minded if it had been displayed at 1:44 on the BD.

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post #49 of 50 Old 03-20-2012, 09:55 PM
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Quote:
Originally Posted by steve ans View Post

Conversions don't "pop out."

You can get "pop out" in a conversion it's just that the conversion artist needs to know what he's doing and want to create the effect. I think many directors think it's tacky.

Quote:
My main problem with conversions is that the sense of depth into the screen just never feels as natural and doesn't have as many layers of depth. There's a crowd scene in Alice in Wonderland that comes very close but most of the time depth in conversions consists of a handful of layers at most, usually one or two background objects set against a foreground.

There are some great converted crowd scenes in John Carter. Check out the opening city street scene of victorian London in the rain. It really looks like native 3D.
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post #50 of 50 Old 03-21-2012, 01:25 PM
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I'm not specifically talking "pop outs" but when you see through a widow with depth with some objects such as grasses or trees framing the image that emerge from the screen, i've never seen that happen. I'll have to wait for John Carter on DirecTV PPV ($6.99-3D) because I really don't feel like spending $15 on it.

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