How do those of you that have this hardware configuration handle the old 6-track "Academy" prints? And also, do you happen to know how many of the old 6-track "Academy" prints actually used five screen channels, instead of the later three-channel solution?

Somewhere I've got a list of the 70mm films released with their sound formats. I'll see if I can dig it up.

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As you have discovered, it can not handle 5-screen channels so it can't reproduce the Conventional 6-track prints. But even sillier is that it can not handle Format 43 with Dolby SR (the last films made used this configuration). It will do it with A-type but not SR.

As Gordon mentioned, Panastereo has the solution. Their 70mm accessory unit will interface to a CP-500 and provide up to 6-channels of genuine Dolby SR noise reduction (or Pana's version, your choice) plus provide the MPU facilities.

The Panastereo unit also puts back the forgotten yet important LC and RC channels.

The Pana unit will track with the CP-500 fader so LC and RC will come along for the ride.

Steve

Isn't there a CP500 (CP500-300, I believe they call it) for studio purposes that handles more SR noise reduction channels? OTOH, there weren't that many 70mm SR prints, were there? "Far and Away" and "Baraka" are the two films that come to mind.

"As Gordon mentioned, Panastereo has the solution. Their 70mm accessory unit will interface to a CP-500 and provide up to 6-channels of genuine Dolby SR noise reduction (or Pana's version, your choice) plus provide the MPU facilities."

I'll certainly have a look at the Panastereo solution. Maybe I can convince the management to buy one it, eventually, if the product is good (and cheap) enough. I'm not sure they're prepared to spend more money right now, even though I almost managed to talk them into buying EX.

"The Panastereo unit also puts back the forgotten yet important LC and RC channels."

And it provides equalization for the LC and RC channels, I presume? Sounds like a very useful unit to me.

In the mean time, I'll have to come up with an acceptable solution for the CP500/MPU combo.

Yup they offer the CP-500/300 that doesn't help you in the 70mm department...it provides two channels of REAL SR as provided by the Cat. 300 SR/A cards instead of the psudo-SR provided by the standard Cat. 222 SR/A

>>"And it provides equalization for the LC and RC channels, I presume? Sounds like a very useful unit to me."<<

Since Pana is the only company offering their analog processors with 1/3 octave EQ on all channels, including the surrounds (even on their Surround EX units) I would be VERY surprised if they didn't have 1/3 octave EQ on LC and RC.

Steve

Um... What's the difference? i thought that the Cat 222 card provided "real" SR.

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Gord, the Cat. 222SR/A does track properly either...ever A/B them? The difference is rather easy to pick off.

As I understand it, they are using Dolby-S noise reduction instead of SR and it shows. I didn't believe the difference until I got a customer complaint where there was MORE noise when they selected SR than A. I verified the problem (the noise was from abrasions in the soundtrack area being scanned by an IR reader). The Cat. 222 SR/A exaggerated the problem in SR mode where as the Cat. 350s did not. The scratch still came though but A was no longer the better choice.

At that point I did some A/B testing between the two and WOW what a difference. The Cat. 222 has the SR a bit brighter and to my ears it doesn't track as well.

After that situation, the only 222SR/As have been for "back ups" to a digital track in typical theatres or as upgrades to CP-55s. Give the choice or a high-end theatre, they get the real deal.

Steve

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I think the Panastereo CSP-4600 is going to win the flexible vote and best solution too.

The engineer on the project has taken my adivce on doing an auto-mix down for those theatres that do not have LC and RC (SHAME ON YOU!)...so running a format 40 print will not lose these vital channels.

Steve