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This topic comprises 2 pages: 1 2
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Topic: DVD Problem
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 03-01-2001 08:10 AM
IMHO,with DVDs and a good monitor, "letterbox" or "Widescreen" is ALWAYS the way to go. That's the format the cinematographer and director composed each shot for. "Pan and Scan" fills the screen of a 4:3 television set, but usually RUINS the composition and pacing of a movie. Unfortunately, many uninformed people still prefer "pan and scan", if only because their VHS tapes and old TVs are so unsharp that they need to fill the screen to see what is going on.Two movies that clearly show the entire widescreen frame being used for creative composition are "The Graduate" and "The Sound of Music". They just are NOT the same movies with pan-and-scan. Marty Hart's "American Widescreen Museum" website describes a wonderful new technique called "FlikFX" that tries to fit wide movies onto a small TV screen without pan-and-scan or letterbox. I think something will be released this April 1: http://www.widescreenmuseum.com/flikfx/default.htm On a more serious note, check out his feature on "Letterbox Lunacy": http://www.widescreenmuseum.com/widescreen/lbx.htm ------------------ John P. Pytlak, Senior Technical Specialist Worldwide Technical Services, Entertainment Imaging Eastman Kodak Company Research Labs, Building 69, Room 7419 Rochester, New York, 14650-1922 USA Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243 E-Mail: john.pytlak@kodak.com Web site: http://www.kodak.com/go/motion
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 03-01-2001 10:20 AM
Brad: I agree that a deep curved screen combined with a steep projection angle results in very unacceptable geometric distortion and lost image area, clearly seen in Marty's example from "Patton". But gain screens should be installed with a slight curve (per SMPTE RP95) to improve illumination uniformity. Usually, a curve with a radius of more than 80% of the projection throw distance won't have objectionable distortion, especially if the projection angle is within a few degrees of perpendicular to the center of the screen. Again, trying various combinations using Schneider's Theatre Design Pro software is very useful to understanding the tradeoffs: http://www.schneideroptics.com/theatre/desprodn.html If you have enough light to use a matte white (gain = 1) screen, you should always install it flat so as not to have contrast killing cross-reflections. ------------------ John P. Pytlak, Senior Technical Specialist Worldwide Technical Services, Entertainment Imaging Eastman Kodak Company Research Labs, Building 69, Room 7419 Rochester, New York, 14650-1922 USA Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243 E-Mail: john.pytlak@kodak.com Web site: http://www.kodak.com/go/motion
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 03-01-2001 04:50 PM
I have mixed feelings about curved screens. I've seen some great theatres that use deep-curve (Uptown in DC), shallow-curve (lots of early '50s CinemaScope conversions were set up this way), and flat screens, as well as bad examples of each.
I think it depends a lot on the design and installation, as well as the movie itself. IMHO, Academy stuff does not look good on a deep-curve screen, since the picture appears to be square. I'd say that 1.66 can go either flat or curved. Shallow-curve is probably best for 1.85, although some films ("Starship Troopers" comes to mind, but there are others) are great on deep-curve screens. Deep-curve is great for scope action films, but probably not so great for "artsy" scope films, particularly if subtitles are involved ("Brother of Sleep," for example, was a great German film from a few years ago that used scope for good reasons, but which probably wouldn't look right on a curved screen, particularly with the resultant distortion to the subtitles).
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