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Discussion Starter #1
I searched the SW7 thread for this, and didn't see it, so I thought it might make an interesting separate thread.


I have no insider info on whether true, but the IMDB tech specs show the master is 4K. Given the progress to 4K digital cinema projection, I presumed that the movie would release in 4K. I reached out to a rep at Harkins Theaters who checked with "the studio," and they confirmed to her that the movie IS NOT being presented in 4K, despite their theater being 4K capable.


Seems if this (of all movies) goes to the trouble to shoot 35 anamorphic and master in 4K, they would distribute it in 4K.


Anybody else do any detective work on this?
 

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Seems if this (of all movies) goes to the trouble to shoot 35 anamorphic and master in 4K, they would distribute it in 4K.
Parts of the movie are also being shot in native IMAX.
 

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Parts of the movie are also being shot in native IMAX.
Yes, some what I call "boutique shots." It's a practice I find a bit strange. Why mess around like that? If the doggone IMAX cameras weren't as loud as blender, and were more reliable, I'd say shoot the whole movie in the IMAX format and be done with it.
 

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Discussion Starter #5 (Edited)
Agreed. :D

I'd be a bit surprised if this was not playing in 4K in select venues. Dolby Cinema should be 4K HDR 2D with Dolby Atmos.
I count no more than nine Dolby Vision screens yet in the U.S.. (Dolby site). All locations have only one Vision screen in their complex, except Burbank that has two.
Parts of the movie are also being shot in native IMAX.
I got the new edition of ICG magazine (camera union/local mag) today with SW 7 as the cover story. They revealed that IMAX was limited mostly to a desert action scene. It was used some by second unit in Iceland. It was mentioned that the 15-perf cameras were troublesome on the last Star Trek, but they did okay on this show.


Cinematography fans might like to hear that they studied legacy episodes 4 and 5 carefully in preparation. They had Panavision modify a set of C-series lenses to be slightly softer for use in one segment of the movie that is more related to those legacy movies. This set was called the "Retro Cs." They also mixed in other C and E-series lenses in this segment. The other segment in the movie utilized the Primo Anamorphics which are far sharper. The light sabres design made their light emission variable and quite bright. A dark scene might be totally lit by them. They also utilized interactive set lighting in sync with the light sabres, especially when they clash.


Of course some things had to be purely CGI, but apparently ILM's digital model making system was revamped for this. The Retro-C lenses even had to make a stop at ILM on the way to London so that they could be "mapped." Not sure what that entails or why exactly. Apparently CGI model lighting and camera moves reach new heights in this. ILM is said to also have utilized "fantastic facial-motion-capture tech" for some characters.


The DP described how they even only used old-school lighting techniques (using gels as needed on incandescents and HMIs), avoiding modern sources such as LED with "their finicky color space." "Our mandate was to preserve all of those handmade qualities built into the sets and wardrobe, which avoided any jarring modernization." Nice!
 

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That's .... so awesome. :D I love when you post stuff like this. So cool.

Well hey. If you're in the LA area come see it at the AMC Burbank 16 as they have a Dolby Cinema. I'll be there on the 27th.
That would be cool! Alas, I'm lucky to be able to get up to Tempe to see it there in a Harkins Cine Capri with Atmos on the 27th. http://www.harkinstheatres.com/cineCapri.aspx
 

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The Retro-C lenses even had to make a stop at ILM on the way to London so that they could be "mapped." Not sure what that entails or why exactly.
Might be what Pixar did before making their movie 'UP', where they shot light through various lenses and captured the effect/distortion of the glass so it could be applied as a filter to their animation. Indeed, if you watch 'UP', the images have a more photographed look rather than the clarity that often comes with CG. Less distraction by pretty images, more concentrating on the story.
 

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Might be what Pixar did before making their movie 'UP', where they shot light through various lenses and captured the effect/distortion of the glass so it could be applied as a filter to their animation. Indeed, if you watch 'UP', the images have a more photographed look rather than the clarity that often comes with CG. Less distraction by pretty images, more concentrating on the story.
Hi Sanjay. Very interesting!
 

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That's .... so awesome. :D I love when you post stuff like this. So cool.

Well hey. If you're in the LA area come see it at the AMC Burbank 16 as they have a Dolby Cinema. I'll be there on the 27th.
I haven't heard back from AMC yet, but I spoke with a pretty sharp Cinemark manager this morning who said that their projectors are all new 4K models, but NONE of the releases coming from studios/distributors are 4K yet. ALL that is going out is 2K, so far.


That sucks! :mad:
 

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I haven't heard back from AMC yet, but I spoke with a pretty sharp Cinemark manager this morning who said that their projectors are all new 4K models, but NONE of the releases coming from studios/distributors are 4K yet. ALL that is going out is 2K, so far.


That sucks! :mad:
I found the post where the guy was talking about 4K files for The Martian and also Everest. I didn't realize he was in Europe, so maybe that's the difference: http://www.avsforum.com/forum/44-movies-concerts-music-discussion/2155921-everest-dolby-vision-hdr-atmos-sound.html#post37819193

As an aside...how do we know if a film is being shown in HDR? Are all screenings at a Dolby Cinema shown in HDR? (In my case, the Dolby Cinema/AMC Prime at AMC Empire 25 in NYC.) Very hard to tell from the Dolby Cinema website. Does Dolby Vision = HDR (all the time)?

-josh

It's indicated in the file of the film, so the projectionist knows.
But it's not something the cinema usually advertises with (mostly because most poeple won't understand, let alone care).
In the JT Dolby Cinema Hilversum (Netherlands), which happens to be one of the most modern theaters in the world (among 2 or 3 others) I get to know from the manager when a "technically interesting" movie screens.
He informed me about "The Martian" and "Everest" both being presented in Atmos, 3D, 4k and EDR.
EDR is HDR with REC.2020 color gamut - while HDR could also be DCI/P3.
So this is as good as it gets - and it truly delivered!
 

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Discussion Starter #13 (Edited)
Everywhere? That seems hard to believe.
I actually spoke this afternoon with the head engineer of Cinemark theaters. This is the guy that manages the teams that go out and install and calibrate all their theaters around the country. He confirmed that they do not yet get 4K releases from studios/distributors, but...they do scale everything up to 4K. He said that they are using 2.4 to 2.9 gain screens everywhere now, but they do not hotspot. They are also not looking into Barco's laser projectors.

THAT SAID...I also heard back in a very nice reply from a supervisor at the AMC Burbank 16. He assured me that they are showing SW7 in 4K...but added that their projectors are "set up to show everything they get at a 4K resolution." So...I replied requesting confirmation that they are getting SW7 in 4K files...or are they just upscaling to 4K. No response yet.


EDIT: Typo. Cinemark IS also looking into Barco's laser projectors.
 

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This is so strange. Can anyone think of a reason why they wouldn't provide a 4k file to the theaters that are capable of displaying it that way?
 

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Its been standard procedure for a while now. Most of the world gets 2K and a few special screenings in LA/NY might get 4K. Fear of piracy probably plays a big part in it.
 

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Discussion Starter #17
Update

I happened to check the tech specs of the movie on IMDB again yesterday, and to my surprise it now indicates that the DI master is 2K not 4K. I can't imagine this is correct! :confused: This has to have a 4K master from which to provide 4K BD down the road!
 

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Interestingly there were some publicity stills from the film released that were in 4K. Why on earth at this point would Disney/Lucasfilm/Bad Robot not complete this thing at 4K? Perhaps it is a typo.

Best regards,
KvE
 
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