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Interstellar is the latest Blu-ray with a variable aspect ratio, a la The Dark Knight. Some of these movies are safer for matting down to 2.35:1 than others.

I watched the whole movie at 2.35:1. The IMAX scenes crop very well. They were clearly framed with all the important action in the 2.35:1 area. No shots are badly centered or noticeably missing relevant picture info. I consider this movie to be Constant Image Height safe, assuming that you either use an anamorphic lens for CIH or have the ability to blank out the top and bottom of the 16:9 frame (with a video processor, for example).
 
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Thanks Josh. I'll be waiting till my new to me (used) ISCO IIIL arrives today and stand from Scott to watch interstellar. It's a relief to know that it will be work within the confines of CIH set ups. That will be the first film we'll watch once everything is mounted and dialed in.

Ron
 

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I look forward to getting this movie at home. It's a question of what proportion of the movie is in what aspect ratio, to decide whether to use my lens for this one.

With laser projectors like the celluon ones, that act like CRTs, it would be cool to be able to switch the AR in software in real time. That would be be great for movies like this. Instantaneous native AR with zero lag. Win.
 

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Discussion Starter · #4 · (Edited)
I look forward to getting this movie at home. It's a question of what proportion of the movie is in what aspect ratio, to decide whether to use my lens for this one.
Are you familiar with Movie Bar Codes? Here's the one for Interstellar, which should give you a sense of what percentage of the movie is what ratio:



Credit:
https://twitter.com/thefilmstage/status/577595164941819904

With laser projectors like the celluon ones, that act like CRTs, it would be cool to be able to switch the AR in software in real time. That would be be great for movies like this. Instantaneous native AR with zero lag. Win.
Even with that, the problem is that switching to 16:9 will reduce the IMAX scenes in size on a 2.35:1 screen, making them smaller and less visually impressive than the boring dialogue scenes. That's the exact opposite of the intention for shooting parts of the movie in IMAX in the first place.
 
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That's why I have a 16:9 138 inch screen and do CIW instead of CIH.

With a laser projector with software controllable Aspect ratio, you could do constant image area instead. That way you get the same brightness potential on any scene.

No matter what you do though, you have to compromise and I think for IMAX movies it's better to have CIW than CIH because IMAX is supposed to be more all-engrossing visually than even 2.37:1.

Thanks for the image though, it shows most of the first half of the movie is in scope and the later space scenes are mostly IMAX. That's basically how I remember it.

I wonder how Folded Space would handle (if at all possible) such a Bluray.
 

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Discussion Starter · #6 ·
That's why I have a 16:9 138 inch screen and do CIW instead of CIH.
Umm, so why were you asking in this forum? :confused:

With a laser projector with software controllable Aspect ratio, you could do constant image area instead. That way you get the same brightness potential on any scene.
Perhaps I'm missing something, but I don't see what laser projection has to do with aspect ratio. The laser projector is still presumably going to be 16:9 like any other projector. Then you have to decide whether (and how) to do CIH with that or not.

The laser is just a new light source. It's not going to change the shape of the pixel panel.

No matter what you do though, you have to compromise and I think for IMAX movies it's better to have CIW than CIH because IMAX is supposed to be more all-engrossing visually than even 2.37:1.
True, but I can count the number of movies with IMAX footage on my fingers. Thousands upon thousands of other movies have been, and continue to be, shot in scope ratio.

I wonder how Folded Space would handle (if at all possible) such a Bluray.
I don't imagine it would do anything with it. Movies like these will be treated as 16:9.
 

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I watched it the other night on my scope setup and it looked great. I watched it previously at a friends' house and he's got a 16:9 projection screen setup. I much preferred to watch it in scope, as the aspect ratio change was so frequent in 16:9 that it became very distracting and took me out of the movie. These VAR movies need to just go away. I'm pretty sure the only ones I have in my collection are Christopher Nolan ones anyway. Seriously, choose a ratio and stick with it, get better sound mixing and be done with it. It doesn't need to be a unique and special snowflake from a technical standpoint - people will like it no matter what if there's a good story.
 

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Interstellar is the latest Blu-ray with a variable aspect ratio, a la The Dark Knight. Some of these movies are safer for matting down to 2.35:1 than others.

I watched the whole movie at 2.35:1. The IMAX scenes crop very well. They were clearly framed with all the important action in the 2.35:1 area. No shots are badly centered or noticeably missing relevant picture info. I consider this movie to be Constant Image Height safe, assuming that you either use an anamorphic lens for CIH or have the ability to blank out the top and bottom of the 16:9 frame (with a video processor, for example).
Yup, I didn't notice anything odd when I watched it scope.
 

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I too agree a hundred percent.The only scene I thought maybe cutoff was the pitchers head during the baseball game scene, but a quick aspect change revealed that was a widescreen aspect. I didn't realized so much of the movie was 16x9.
 

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With a laser projector with software controllable Aspect ratio, you could do constant image area instead. That way you get the same brightness potential on any scene.
Lumagen Radiance was supposed to be adding a mode to do automatic switching for Variable Aspect Ratio, but it hasn't happened yet. It would depend on wasting a lot of pixels, however. I'd still like to try it someday. It might only be Nolan and a few others, but its some of the better ones in my collection.
 

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Yeah it would waste a lot of pixels, so I prefer CIW. Although with a laser PJ like the celluon (assuming they can increase the brightness sufficiently), you could modulate the extent of the beams and use that for anamorphic display of variable AR material like this movie. It would increase the brightness per square inch / meter for the scope content parts though, relative to the non-scope material, so I'm not sure if this is a good idea anyway. Ideally you'd have something like Folded Space that could encode the whole movie in 16:9 then switch itself off for the IMAX portions of the movie, so you could get full res all the time. Probably never going to happen though, sadly.
 

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Yeah it would waste a lot of pixels, so I prefer CIW.
Why are you in the CIH section then ;)

Although with a laser PJ like the celluon (assuming they can increase the brightness sufficiently), you could modulate the extent of the beams and use that for anamorphic display of variable AR material like this movie. It would increase the brightness per square inch / meter for the scope content parts though, relative to the non-scope material, so I'm not sure if this is a good idea anyway.
I think that would be a terrible idea, it would be like constantly switching between high and low lamp throughout the movie.

Ideally you'd have something like Folded Space that could encode the whole movie in 16:9 then switch itself off for the IMAX portions of the movie, so you could get full res all the time. Probably never going to happen though, sadly.
There's no point to that, the whole point of Folded Space is to use the black bar area to encode additional information for scope (CIH) presentation, if you're going to play the movie in 16:9, then there's no point to Folded Space since you're just watching a 16:9 movie that happens to have lots of black space.
 

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Why are you in the CIH section then ;)
Because there is a lot of overlap with CIW since the AR is the same? and because there isn't one. There's that.

I think that would be a terrible idea, it would be like constantly switching between high and low lamp throughout the movie.
I admit, I would have to see it to know if it would be jarring. But my cheap benq w1070 continuously varies the lamp power already, to match the overall brightness of the input signal, and I don't find it distracting in the least. To the contrary, it's a feature that I now can't live without. I'm not upgrading to a projector that can't do that, unless its native CR is stupendously high or it's HDR capable (then you'd need a high CR + a high brightness peak potential therefore max lamp power, even if most of the image is dark but a few highlights here and there).

There's no point to that, the whole point of Folded Space is to use the black bar area to encode additional information for scope (CIH) presentation, if you're going to play the movie in 16:9, then there's no point to Folded Space since you're just watching a 16:9 movie that happens to have lots of black space.
Actually, my point was only for the new celluon picopro laser projectors. Once you can program the vertical dispersion in software, to match the AR of the current frame, then you can dynamically use the full rez that Folded Space could provide in the scope sections. So Scope would be higher res and brighter, but IMAX sections would be the same rez as before and the same brightness as before. Which is a net win, since most of the movie is in scope and lots of projectors need all the help they can get in the 3D lumens department. Actually those picopros need all the help they can get even in 2D lumens, they have about 32 lumens right now. No matter how quickly they increase to 300, 600, 1000, 2000...it will never stop being true that wasting 25% of your brightness and resolution by projecting black lines is dumb. And on laser scanline projectors, you don't need to, because like a CRT you can change the beam dispersion on the fly, without a lens. I'm going to be buying one of those celluon projectors to try and hack the vertical dispersion to switch it to 75% or 100% (equivalent to VC type lens), or conversely for the horizontal from 100% to 133% to achieve the equivalent to what an HE lens does. I'm not sure that HE would work due to possible physical limitations, but certainly VC would. Since the laser beams can scan lines from the top to the bottom, they can definitely limit themselves to scanning 3/4 of that range. And treat is as if it were 100%, if you enable anamorphic stretching. Then suddenly your 32 lumen projector is like 40+ lumens. Or 300 is like 400. etc...

No matter how many lumens you got, you can always use more : to get a bigger image, or a brighter one at the same size. Take your pick. That's one of the selling points of anamorphic lenses. This is the same thing but native, optics free. Kind of ideal. I also want to get one of the picopros to be able to render the games I make in anamorphic and stick my VC lens in front of it to validate it works. That's much easier than bringing down my w1070 and bringing it to work. Rendering to anamorphic is a great thing to do for both laser projectors, 21:9 native monitors (current consoles don't support 2560x1080 resolution, so you'd have to render the game in letterbox for the monitor's stretching function to not skew the image out of proportion).
 
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